Thesis: Varnishes from historical musical instruments (2010)

Title: Characterization of the varnishes from historical musical instruments
Author: Francesco Caruso
University: University of Palermo
Type of document: PhD
Year: 2010
Link: http://box.net/... (pdf, 9.1 Mb)

Note: download with permission of the author.

Abstract

The characterization of materials such as glues, paints, pigments, binders and varnishes used to create artworks, continues to provide art historians and conservators with precious information. Such a knowledge enables restoration and conservation processes to be carried out properly without causing any damage to the original artefacts and also helps to understand the techniques used by the artists. The varnishing of musical instruments has been an interesting debating point since the end of the 19th century for lute-makers and industries focused onto the (re)production of high quality instruments. To date, there is considerable scientific interest in recovering the original formulations (the secrets of the old masters) and transferring such knowledge to restorers, conservators, lute-makers and musicologists. Ample scientific efforts have been made to identify the organic and the inorganic portions of the surface layers of several historical stringed instruments, although the interest has mainly been focused on North-Italian ones. This doctoral dissertation is devoted to the use of a non standard multianalytical method for the characterization of the varnish of a selection of historical stringed musical instruments from the "Musical Instruments Museum" in Brussels and the "Vincenzo Bellini" Conservatory in Palermo. A series of non-destructive and micro-destructive instrumental techniques was applied for obtaining information about the composition of the varnishes of the instruments. Particular attention was given to the implementation of a Curie Point Pyrolysis Gas Chromatography coupled with Mass Spectrometry methodology for the study of the organic portions of the micro-samples without any special pre-treatment. This is the first systematic scientific work on the art works of such collections and one of the few in the field of chemical sciences applied to the conservation of historical musical instruments.


Table of contents (short version):

1. Introduction

1.1. History of the collection of the \Vincenzo Bellini" Conservatory in Palermo
1.2. History of the \Musical Instruments Museum" in Brussels
1.3. Scientific studies on the varnish of historical musical instruments
1.4. The analysed instruments and their labels
2. Experimental
2.1. Non destructive techniques
2.2. Micro-destructive techniques
3. Results and discussion

3.1. Non destructive techniques
3.2. Micro-destructive techniques
4. Conclusions
References
A. XRF results on the instruments from the "Musical Instruments Museum" in Brussels
B. FTIR spectra and band assignments of reference materials

C. Scientific activity

Thesis: A Study of Ideological Division in the Field of Conservation-Restoration (2006)

Title: Heritage, Hermeneutics and Hegemony - A Study of Ideological Division in the Field of Conservation-Restoration
Author: Frank Hassard
University: Brunel University
Type of document: PhD
Year: 2006
Link: http://hdl.handle.net/... (pdf)


Abstract

In recent times, the concept of ‘intangible heritage’ has gained credence within the international heritage community, reflecting wider concerns relating to the cultural impact of global economic, technological and political forces. For many, intangible heritage represents a vital living mediation of the material past (i.e. tangible heritage) which deepens its significance and meaning-conferring qualities. This thesis explores how in recent times, the intangible heritage became ‘separated’ from the tangible heritage in such a way as to bring about ideological division within the field of heritage preservation and a sense of discontinuity with the past – particularly relating to the practice of restoration and its patrimony of expertise. The thesis argues that this has been attributable to an ‘institutionalised’ conception of heritage based essentially on a historiography of materials located in the ideological site of the museum – the repository where tangible heritage is housed, organised, interpreted, conserved, restored and displayed in such ways as to confer meaning upon the material world. By drawing extensively upon evidence from the literature and engaging the conservation-restoration field, the thesis develops discussion around the emergence (and subsequent institutionalisation) of a relatively recent scientific paradigm of practice – ‘scientific restoration’ – largely shaped by this ‘museological’ vision of heritage. It also considers how the work of Cesare Brandi came to be instrumental in the formulation of this vision but argues that such conceptions have been predicated upon a misappropriation of his ideas and a misreading of historical heritage preservation ideologies that has done much to contribute to tensions evident within the heritage community. To this end, the thesis aims to redress this historical impasse by reconsidering the function of restoration – especially in terms of what is added to the historical document – and reconciling the competing claims of the tangible and intangible by developing the concept of ‘authentic process’.

Thesis: A Museological Approach to Blogging (2007)

Title: Constructing Connections: A Museological Approach to Blogging
Author: Lynn A. Bethke
University: University of Washington
Year: 2007
Pages: 141
Type of document: Master thesis
Link: http://sites.google.com/site/lynnbethke/... (pdf, 1.4 Mb)


Table of Contents:

1.0 Introduction
1.1 Background and History
1.1.1 Blogging Basics and Background
1.1.2 A Condensed and Focused Museum History

2.0 Blogs and Museum Theory
2.1 Education
2.1.1 Theories of Knowledge and Learning
2.1.2 Constructivist Learning
2.1.3 Museums and Constructivist Learning
2.1.4 Other Advantages for Museum Education
2.2 Communication
2.2.1 Approaches to Communication
2.2.2 Mass v. Network Communication
2.2.3 Museums and Networked Communication
2.3 Public Relations
2.3.1 A Selected Overview of Public Relations Theory
2.3.2 Relationship Management
2.3.3 Museums and Public Relations
2.3.4 Blogs as Museum Public Relations Tools
2.4 Blogs as Appropriate for Museums

3.0 Blogs and Museum Practice
3.1 Methodology
3.1.1 Scope of Survey
3.1.2 Survey Methods
3.1.3 Other Analytic Methods
3.2 The Costs and the Benefits of Museum Blogging
3.2.1 Blogging Benefits
3.2.2 The Costs of Museum Blogging
3.3 Museum Blogs: Approaches
3.4 Findings Summary
3.5 Blog Case Studies
3.5.1 BuzzBlog: Creating Community
3.5.2 Dear Miss Griffis: Collections in Conversation
3.5.3 Live from LRMA: Curatorial Blogging
3.5.4 Food Museum Blog: Cooking Up Content
3.6 Museum Blogs in the Twenty-First Century
3.7 And Beyond

Bibliography
Appendix A: Websites Referenced
Appendix B: Survey Responses

Thesis: Coating strategies for the protection of outdoor bronze art and ornamentation natural building stones (2003)

Title: Coating strategies for the protection of outdoor bronze art and ornamentation natural building stones
Author: Lynn B. Brostoff
University: University of Amsterdam
Year: 2003
Pages: 180
Type of document: PhD thesis
Link: http://dare.uva.nl/... (pdf, 15.3 Mb)

Note: Resource kindly indicated by Goran Budija

Table of Contents (short version):

1. The problem of protecting bronze in outdoor exposures
1.1. Introduction
1.2. The effect of outdoor environments on bronzes
1.3. The engineering problem
1.4. The conservation problem: current attitudes, practices, and research
1.5. The research problem
1.6. Conclusions

2. Performance of 29 coatings on two types of copper alloy substrates
2.1. Introduction
2.2. Experimental methods
2.3. Results and discussion
2.4. Conclusions

3. Performance of five coatings on four types of copper alloy substrates
3.1. Introduction 57
3.2. Experimental methods 58
3.3. Results and discussion
3.4. Conclusion

4. Electrochemical Impedance Spectroscopy (EIS) of select coatings on bronze
4.1. Introduction
4.2. Experimental method
4.3. Results and discussio
4.4. Conclusions

5. Chemical characterization of the bulk coating and the metal/coating interface
5.1. Introduction
5.2. Experimental methods
5.3. Results and discussion
5.4. Conclusions

6. The role of benzotriazole (BTA) in bronze protection
6.1. Introduction
6.2. Background
6.3. Experimental methods
6.4. Results and discussion
6.5. Conclusions

7. Summary and concluding remarks
7.1. Summary of results
7.2. Low maintenance vs. high maintenance coatings
7.3. Suggestions for future work

Thesis: X-ray tomography in conservation of stones (2005)

Title: Exploring the potential of X-ray tomography as a new non-destructive research tool in conservation studies of natural building stones
Author: Veerle Cnudde
University: Ghent University
Year: 2005
Pages: 216
Type of document: PhD thesis
Link: http://hdl.handle.net/... (pdf, 32.4 Mb)

Note: Resource kindly indicated by Nina Horvat

Table of contents (short version):

1. Materials
1.1. Natural building stones
1.2. Conservation products
1.3. Application methods
1.4. Conclusions

2. Traditional research techniques
2.1. Mineralogical and petrographical description
2.2. Technical properties
2.3. Porosity
2.4. Moisture-transfer properties
2.5. Conclusions

3. X-ray computed tomography
3.1. X-ray computed tomography
3.2. Medical CT
3.3. Micro-CT: Skyscan 1072
3.4. Nano-CT
3.5. Reconstruction software
3.6. 3D-visualisation

4. Image processing & image analysis
4.1. Generalities
4.2. µCT analySIS: 3D-software
4.3. Testing of the µCT analySIS-software
4.4. Comments on the software

5. Visualisation possibilities of x-ray micro-CT
5.1. General information
5.2. Visualisation of minerals
5.3. Visualisation of products
5.4. Visualisation of weathering
5.5. Conclusion

6. General overview of acquired data
6.1. Natural building stones
6.2. Water repellents and consolidants
6.3. Salt
6.4. Bacterial weathering
6.5. Interdisciplinarity of non-destructive X-ray micro-CT and 3D-analysis
6.6. High-speed thermal neutron tomography

7. Discussion and conclusions
7.1. Influence of technical stone properties on conservation products and vice versa
7.2. X-ray micro-CT
7.3. High-speed neutron tomography
7.4. Research perspectives for non-destructive testing

Appendix A
- Interdisciplinarity of non-destructive X-ray micro-CT and 3D-analysis

Thesis: electrolytic reduction of corroded lead objects (2007)

Title: A study of the electrolytic reduction of corroded lead objects and the application, characterization and testing of a protective lead carboxylate coating
Author: Bart Schotte
University: Ghent University
Year: 2007
Pages: 199
Type of document: PhD thesis
Link: http://hdl.handle.net/... (pdf, 14.6 Mb)

Note: Resource kindly indicated by Goran Budija

Abstract:
Lead objects exposed to the atmosphere or buried are known to corrode slightly. However, lead corrodes severely in humid environments, and, more specifically, in the presence of organic acids. This accelerated degradation, commonly referred to as active corrosion, takes place e.g. in display cases of museums and on organ pipes in churches: the objects readily loose mechanical stability and their original surface details. If the process is not stabilized, all details and even the entire artefact could be lost through complete disintegration. A possible treatment to stabilize and conserve active corroded lead is an electrochemical reduction. In this work we have tried to shed some light onto the process. First of all, a fundamental study was performed to understand the mechanism of the ongoing reduction and how it affects the profile of the corresponding reduction curve. In a second part, we focused on the evaluation of the treatment, related to the chemical and morphological changes of the lead artefacts. Finally, we studied the efficiency of the treatment on corroded lead alloys. Therefore, lead and lead alloys, including lead-tin, lead-antimony and lead-bismuth were artificially corroded by vapours of formic acid, acetic acid, propionic acid and acetaldehyde at different concentration levels. Consequently, the electrolytic reduction of the corroded coupons was studied to evaluate the effects of the alloying elements. In this work, we studied the application of lead decanoate, deposited by immersion in sodium decanoate solutions. We focused on the lead decanoate layer growth in situ using electrochemical impedance spectroscopy and X-ray diffraction, in order to obtain insights in the protection and growth properties. The preparation of decanoate solutions was investigated and resulted in the establishment of a protocol for a solution that produces rigid coatings. Using this solution, we studied the lead decanoate surface coverage on a basis of solid/liquid contact angle measurements at regular time intervals during treatment. In addition, we monitored the coating resistance during application by electrochemical impedance spectroscopy and studied effects of stirring and of the layer thickness of the liquid phase to determine most efficient application conditions.


Table of contents (short version):

I. General introduction, corrosion and conservation, applied techniques
1. General introduction on lead
2. Experimental methods

II. Study of the electrolytic reduction of actively corroded lead objects
3. A fundamental study of the electrochemical reduction treatment
4. Chemical and morphological changes
5. Reduction of artificially corroded samples

III. Lead soaps
6. Lead carboxylate coatings: General introduction
7. Real time spectroelectrochemistry
8. Optimization of the Pb(C10)2 coating process
9. Growth and corrosion monitoring of PbC10 layers

Summary and conclusions
Appendicea

Thesis: Tree-ring analyses of European oak (2005)

Title: Tree-ring analyses of European oak: implementation and relevance in (pre-)historical research in Flanders
Author: Kristof Haneca
University: Ghent University
Year: 2005
Pages: 249
Type of document: PhD thesis
Link: http://hdl.handle.net/... (pdf, 17.4 Mb)

Abstract:
Throughout human history, forests and woodlands in Western Europe experienced a high anthropogenic influence. In densely populated areas forests were cleared and converted to arable land or were exploited for the supply of firewood and construction timber. In Flanders, it is estimated that the forest cover by the end of the 13th century was even lower than in the 19th century. To date, several assortments of timber, available on the local wood market during the Roman era and the Middle Ages, have become part of our cultural heritage. Archaeological remains, historical buildings, panel paintings and religious sculptures are only a few examples of constructions and objects that were created by processing wood. Especially European oak (Quercus robur L. and Q. petraea (Matt.) Liebl.) was highly esteemed by craftsmen. Tree-ring series of oak have the characteristic that they tend to crossdate. In other words, ring-width series display a certain element of synchronicity between remote sites. This feature allows to use dendrochronology, i.e. the scientific study of tree-ring patterns, as a dating tool. However, in Flanders tree-ring dating has seldom been applied and has often led to inconclusive results. Especially archaeological oak timbers or wood from historical buildings is often characterized by short (less than 50 years) and variable growth patterns. Therefore, it was assessed and demonstrated that such series have a potential for dating purposes and chronology building. It is believed that the high anthropogenic pressure on the original forest cover has stimulated the implementation of short rotation systems. Past forest management interventions and forest stand structure development are recorded in the growth patterns and the wood anatomical structure of archaeological and subfossil wood. By comparing them with growth patterns of contemporary trees from stands with well-known stand structure and management history it was noticed that the same patterns are encountered. Consequently, it is now possible to distinguish wood specimens that originate from, for instance, a coppice stand or a high forest by scrutinizing their growth patterns. Moreover, close observation of the wood anatomy, for instance, the size and distribution of earlywood vessels, provides an image of the variability in past hydrological conditions. Tree-ring series from wooden sculptures and panel paintings from 15th-16th century display a completely different nature. Since local timber sources mostly provided small sized and fast grown timber, craftsmen started to look for high-quality oak. Such assortments became available due to the establishment of an important timber trade. Especially oak timber from the Baltic region was imported. By studying the growth patterns on historical art objects it becomes clear that medieval woodworkers were well aware of the intrinsic variability and technological properties of the imported oak timber. Moreover, analysis of extensive datasets of tree-ring series from historical art objects provides more insights and information on the original timber source, wood processing activities and the creative process. It is obvious that dendrochronology has become more than a dating tool in (pre-) historical studies. This work demonstrates that it is highly valid to approach Flanders’ precious cultural heritage, created out of wood, from a multidisciplinary point-of-view, where archaeology, art-history, wood technology and biology should play an important and valuable role.

Table of contents (short version):

1. Introduction and outline
2. Tree-rings of European oak and their relevance in archaeological and (art-) historical research: a review

I: Wood from Art-Historical Objects
3. Late Gothic altarpieces as sources of information on medieval wood use: a combined dendrochronological and art historical survey
4. Provenancing the original source of timber, imported during the Middle Ages

II: Archaeological Wood
5. Dendrochronology of medieval oak from Flanders: the information content of short ring-width series
6. Growth trends provide an image of forest structure and management during Roman and Medieval times

III: Subfossil Wood
7. Radiocarbon dating and wiggle matching
8. Subfossil oak trunks as ecological archives of forest dynamics along the river Scheldt
9. Utilisation potential and perspectives

Thesis: Stone decay by salt crystallization (2007)

Title: Multiscale study of stone decay by salt crystallization in porous networks
Author: Matthieu Angeli
University: Université de Cergy Pontoise
Year: 2007
Type of document: PhD thesis
Files available: pdf file (45.5 Mb) and powerpoint presentation (21.8 Mb)
Link: http://archives-ouvertes.fr/...


Abstract:

Crystallization of soluble salts in porous networks is a major source of decay for natural stones. The objective of this thesis is to specify this salt decay mechanism in the particular case of sodium sulphate crystallization. The basis of this work is to follow the evolution of samples of nine sedimentary stones of various origins (two biodetritic limestones, one detritic limestone, one lacustrine limestone, three quartz-rich sandstones and two layered shaly sandstones) during accelerated ageing tests. First, the mechanism of sodium sulfate crystallization is studied thanks to thermal monitoring of the samples. Different crystallization sequences are proposed to explain the decay during the cycles. Then a new way of quantifying salt decay in the long term is proposed, taking into account the hydromechanical properties of the stones. The importance of the microstructures on decay (porous network tortuosity or connectivity, intragrain cracks) is also assessed thanks to a mercury porosimetry study. Finally, the influence of the environmental conditions on decay is also evaluated: evaporation and temperature directs both the location and amplitude of salt decay.

Table of Contents (short version):

Chapter I: Decay of natural stones
1. Weathering agents
2. Influence of the stone characteristics on weathering
3. Building characteristics
4. Human causes

Chapter II: Materials and methods
1. Overview of the studied stones
2. Microstructural studies
3. Hydromechanical properties
4. Accelerated ageing by salt decay

Chapter III: Salt crystallization
1. Experimental results
2. Theories of salt damage
3. Sodium sulphate

Chapter IV: Salt damage
1. Macroscopic experiments
2. Microscale experiment:Modification of the porous network by salt crystallization of experimentally weathered sedimentary stones

Chapter V: Influence of environmental parameters
1. Influence of capillary properties and evaporation on salt weathering of sedimentary rocks
2. Influence of temperature and salt content on the salt weathering of sedimentary rocks

Thesis: Formatos de la pintura española del siglo XVII (2004)

Title: Los formatos de la pintura española del siglo XVII conservada en el Museo del Prado (Palacio de Villanueva)
Author: José María Seijas Seoane
University: Universidad Complutense de Madrid
Year: 2004
Type of Document: PhD thesis
Link: http://ucm.es/... (pdf, 9.7 Mb)

Abstract:

Los formatos de la pintura española del siglo XVII vistos a través de las colecciones del Museo del Prado (Palacio de Villanueva), presentan en muchos casos formas caprichosas. La procedencia de estas pinturas, que formaron parte de la decoración de muchos de los palacios e iglesias hoy desaparecidas, justifica sus dimensiones, al tener que adaptarse a los vanos disponibles en los muros o en los huecos de los retablos. No obstante cuando los artistas pudieron trabajar con entera libertad creativa en cuanto a formato se refiere, han preferido dimensionar sus lienzos, siguiendo criterios mucho más racionales, que se fundamentan en la geometría euclidiana, en la sección aúrea o en las proporciones armónicas que tanto promulgaron los tratadistas del Renacimiento entre los que figuran: Alberti, Vitrubio, Palladio o el español Andrés de Valdelvira, que tanto habría de influir en los artistas del barroco español.

Table of contents (short version):

I. La supefície pictorica
II. Los formatos aureos
III. Los formatos geometricos
IV. Los formatos musicales
V. Resultados analíticos

Thesis: Reintegración cromática por medios fotomecánicos (2004)

Title: Sistema de reintegración cromática asistido por medios transferibles obtenidos por procedimientos fotomecánicos: aplicación en la restauración de pintura de caballete

Autor: José Manuel de la Roja de la Roja
University: Universidad Complutense de Madrid
Year: 2004
Pages: 183
Type of Document: PhD
Link: http://eprints.ucm.es/... (pdf, 15.8 Mb)

Abstract:

El sistema se basa en la reintegración cromática mediante tricomia, asistido por medios transferibles mediante presión. Consiste en la reproducción del color a reintegrar en las lagunas de una obra pictórica mediante transferencia y superposición de únicamente tres colores amarillo, magenta y cian, con sus correspondientes porcentajes, previamente identificados en unas tablas cromáticas de referencia la posibilidad de transferir en las lagunas de forma conjunta los múltiples signos que constituyen los denominados fondos tramados transferibles (FTT) y, además, conocer a priori la composición porcentual de los distintos colores a transferir, permite efectuar el proceso de reintegración con una mayor rapidez y seguridad de ejecución, así como la obtención de una mayor homogeneidad y definición en el trazado de los signos.

Table of Contents (short version):
I. Sistemas de Reintegración

II. Fundamentos del sistema de reintegración que se propone
III. Material necesario para el desarrollo del sistema. Optimización de la naturaleza de los componentes, dosificación y condiciones de trabajo

IV. Proceso de reintegración. Metodología de trabajo
V. Discusión
VI. Conclusiones

Thesis: Painters' supports and studio practices (2009)

Title: Technical Art History: Painters' supports and studio practices of Rembrandt, Dou and Vermeer
Author:Jørgen Wadum
University: University of Amsterdam
Year: 2009
Pages: 237
Type of document: thesis
Link: http://dare.uva.nl/... (pdf)

Table of contents:

Introduction : discoursing artworks : the multiple faces of conservation documentation

Part I. Supports and their making, meaning and protection
The winter room at Rosenborg Castle : a unique survival of Antwerp mass-production
The Antwerp brand on paintings on panels
Historical overview of panel-making techniques in the northern countries
Microclimate boxes for panel paintings
Peeter Stas : an Antwerp coppersmith and his marks
Antwerp copper plates

Part II. Studio practices of Vermeer, Rembrandt and Dou
Dou doesn't paint, oh no, he juggles with his brush : Gerrit Dou, a Rembrandtesque 'fijnschilder'
Rembrandt under the skin : the Mauritshuis portrait of Rembrandt with gorget in retrospect
Vermeer in perspective
Contours of Vermeer

Part III. Bibliography

Thesis: sculpture and sculptors in the Academie Royale de Peinture (2008)

Title: The human figure as method : study, sculpture and sculptors in the Academie Royale de Peinture et de Sculpture (1725-1765)
Author: A.T. Macsotay Bunt
University: University of Amsterdam
Year: 2008
Pages: 573
Type of document: Thesis
Link: http://dare.uva.nl/... (pdf)

From the Introduction:

This dissertation deals with the study activities pursued by a series of French sculptors as apart of their training and admission in to the Academie royale de peinture et de sculpture (1648–1793) between 1725 and 1765. It is at the same time an art historical account and a cultural history, concerned with the long-term impact of the Academic movement in France and the transformation of sculpture in its wake. Such a transformation is understood, above all, culturally. It is not my intention to show changing styles of sculpture, or to present the reader with a narrative of innovation. Instead, I will allow the traces of a reconfiguration, on a cultural level, of the way sculpture was made and the way that the persona of the sculptor was defined. I will propose that these cultural stakes are pivotal to the understanding that one must ring, for art historical purposes, to the artistic etude, both as a notion and as a specific group of works, in the eighteenth century.

Table of Contents (short version):

1. Introduction

Part I. Academic sculptors
2. The practice of study: Nicolas Vleughels and the sculptors of the Académie de France in Rome (1724-1737)
3. The age of rehearsals: study and the notion of the academic
4. Rules for sculptors’ presentations and the function of freestanding figures
5. Carving and the demarcation of the academic sculptor

Part II. Academic sculptures
6. Mouvement : Falconet’s Milon and Adam’s Prométhée
7. Repos, Contraste : Bouchardon’s Christ, Saly’s Faune and Pigalle’s Mercure

Part III. Coda
The reception of Edmé Bouchardon as a discussion on methods and learning

Thesis: Laser Cleaning of Metal Artifacts (2006)

Title: Laser Cleaning as a Conservation Technique for Corroded Metal Artifacts
Author: Yang Sook Koh
University: Luleå University of Technology
Year: 2006
Pages: 114
ISSN: 1402-1544
Type of document: Thesis
Link: http://epubl.luth.se/... (pdf, 4.5 Mb)

Abstract:

Preservation of cultural property for the future is one of the most important activities of our society. The information which we can gather from such materials is a valuable key to understanding the past. Conservation is a process which includes a range of different treatments. Cleaning is one of the critical steps of the conservation process and involves stabilizing the material and the exposure of hidden details on the surface of the artifact in question. As the artifacts are often fragile and irreplaceable it is very important to choose suitable techniques and methods to avoid damage. Research is still continuing to develop new or improved techniques. One of these new techniques is laser cleaning which has shown good potential as a cleaning tool in many material categories in conservation work.

Table of Contents (short version):

1. Introduction
2. The ethics of 'Laser cleaning as a conservation technique for corroded metal artifacts'
3. (Paper A) Cleaning of corroded iron artifacts using pulsed TEA CO2- and Nd:YAG-lasers
4. (Paper B) The removal of layers of corrosion from steel surfaces: A comparison of laser methods and mechanical techniques
5. (Paper C) Removal of adhesives and coatings from iron artifacts using TEA CO2- and Nd:YAG-lasers
6. (Paper D) Experimental study on the effect of wavelength in the laser cleaning of silver threads
7. (Paper E) Cleaning oxides from copper artifacts using a frequency-doubled Nd:YAG laser

Thesis: Discoloration in Renaissance and Baroque Oil Paintings (2002)

Title: Discoloration in Renaissance and Baroque Oil Paintings. Instructions for Painters, Theoretical Concepts, and Scientific Data
Author: M. H. van Eikema Hommes
University: University of Amsterdam
Year: 2002
Pages: 223
Type of document: Thesis
Link: http://dare.uva.nl/... (pdf)

From the Introduction:

Presently, the problem of the degradation of old oil paints is the research domain of conservation science, namely the science investigating the cause of ageing processes in works of art and developing methods of retarding or countering them. Researchers focus on uncovering the chemical and physical characteristics of oil binding media and pigments. The composition of paints in old paintings is painstakingly analysed to this effect. On the basis of the results, paint systems are made that approximate as closely as possible the original composition of the old paints in the aspects deemed relevant by the researchers. By exposing these reconstructions to artificial ageing, an attempt is made to accelerate the natural ageing processes. When chemical and optical changes are charted, useful information can be acquired about the degradation processes that have occurred in the old paints. [...]

Table of contents (short version):

I. A Proposal for the Classification of Painting Methods and Recipes
II. Painters' Methods to Prevent Colour Changes Described in Sixteenth to Early Eighteenth Century Sources on Oil Painting Technique
III. Discoloration or Chiarsoscuro? An Interpretation of the Dark Areas inn Raphael's Transfiguration of Christ.
IV. Verdigris Glazes in Historical Oil Paintings: Recipes and Techniques
V. Indigo as a Pigment in Oil Painting and the Problem of its Fading

Thesis: The Theseus painter (2003)

Title: The Theseus painter. Style, shapes and Iconography
Author: O. E. Borgers
University: University of Amsterdam
Year: 2003
Pages: 330
Type of document: Thesis
Link: http://dare.uva.nl/... (pdf)

From the Introduction:

Thee subject of this monograph is the Attic black-figure vase painter known today as the Theseus Painter who, as we shall see, worked from about 515/510 to 480/475 B.C. First of all, the study aims at giving, as completely as possible, a full description of all the features comprising the painter's stylistic nature: painting, drawing, composition, use of added colour. These categories are, in turn, considered in relation too the potterwork, namely the types of vases the Theseus Painter decorated, the workshops with which they can be associated, and whether he might also have been involved in shaping some or all of them. [...]

Table of Contents (short version):

A. Shapes and Style
I. Vase Shapes and Style of Painting and Drawing
II. Skyphoi
III. Lekythoi
IV. Other Shapes
V. Workshop Connecting
VI. Development and Chronology
VII. Provenances

B. Iconography
VIII. Introduction
IX. Deities
X. Other Mythological Figures and Scenes as well as related Representations
XI. Herakles and Theseus
XII. Ritual, Theater and Everyday Life
XIII. A Closer Look at the Theseus Painter's Iconography

Thesis: Case studies of Naples Yellow and discoloured Smalt (2003)

Title: Scientific analysis of historical paint and the implications for art history and art conservation. The case studies of Naples Yellow and discoloured Smalt.
Author: Joris Dik
University: University of Amsterdam
Year: 2003
Pages: 159
ISBN: 9090164790
Type of document: Thesis
Link: http://dare.uva.nl/... (pdf)

Abstract:

This thesis describes a research project in the field of technical art history. Subjects of this study are the production history of Naples Yellow and the discolouration of smalt. Naples Yellow, or lead antimonate yellow, is the most important synthetic yellow pigment in the history of the visual arts. The usage of lead antimonate covers a period of more than 3500 years, the first application of the pigment dating back to the 18th Egyptian dynasty (ca. 1500 BC). The production history of the pigment, notably over the past few centuries, is rather diverse and not well understood. This research project focussed on the European history of the pigment from the 16th to 19th century. The aim of this study was to describe different manufacturing methods and, subsequently, different forms of lead antimonate used at different periods over time. Secondly, the discolouration phenomenon of the blue painting pigment smalt was studied. Based on a number of analytical techniques a digital reconstruction showing the approximate original appearance of a smalt-discoloured painting.

Table of contents (short version):
Chapter I. Principles, Methods and Pitfalls
Chapter II. Early Production Recipes of Lead Antimonate Yellow in Italian Art
Chapter III. Northern European 18th century Lead Antimonate Yellow
Chapter IV. 19th century Naples Yellow Re-examined
Chapter V. Lead Isotope Analysis of Lead Antimonate Yellows
Chapter VI. The Digital Reconstruction of a Smalt Discoloured Painting by Hendrik Ter Brugghen


Note: Unfortunately the thesis digitisation is poor and the text is only partially readable.

Thesis: pottery in the Greek world (2002)

Title: Pottery to the people. The production, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC)
Author: Vincenzo Vladimir Stissi
University: University of Amsterdam
Year: 2002 Pages: 700
Type of document: Thesis
Link: http://dare.uva.nl/... (pdf)

Table of contents (short version):

I. Introduction

Part I. Production
II. Production studies from the past to the future
III. Quantities of preserved pottery and the scale of production
IV. Archaeological remains of Greek pottery production: excavated workshops and kiln
V. Depictions of Greek potters and painters at work
VI. The voice of the workshop: signatures as a source of information on potters, painters and the ways they worked together
VII. Signatures, attribution and the size and organisation of workshops
VIII. The magic mirror of the workshop: painted and written references of potters and painters to themselves and their colleagues
IX. To the gods and the world: potters' votives as indications of wealth and status
X. Secondary evidence for the status of potters and the scale and organisation of pottery production
XI. Conclusions: pottery production as a large-scale phenomenon, hard-working potters and painters

Part II. Pottery in its Economic and Social Context: Prices, Status and Use
XII. Introduction
XIII. Prices of pottery
XIV. Domestic use of pottery and metal vessels: prices, wages, wealth and consumption patterns
XV. Pottery and metal vessels in the household: the excavated evidence
XVI. Pottery and other vessels in sanctuaries
XVII. Pottery from graves
XVIII. Conclusions: pottery as a semi-luxury

Part III. Distribution
XIX. Introduction: from pottery distribution patterns to the organisation of transport and exchange
XX. Pottery in transit: direct evidence of transport and exchange
XXI. Pottery and sea trade: the ancient written sources
XXII. Distribution patterns and distribution systems of Attic figured pottery
XXIII. Patters of production and consumption as evidence for distribution
XXIV. Conclusions: a general view and detailed insights combined
XXV. General Conclusions

Thesis: Organic residues preserved in ancient vessels (2006)

Title: Molecular studies of organic residues preserved in ancient vessels
Author: Tatiana Frederica Margreta Oudemans
University: University of Amsterdam
Year: 2006
ISBN-13: 978-90-77209-12-7
Type of document: PhD thesis
Download: http://www-old.amolf.nl/... (pdf, some chapters available)


From the Introduction:

This study is aimed at the molecular characterisation oft he organic residues preserved in an assemblage of ceramic vessels originating from an indigenous settlement dating from the Iron Age and Roman period at Uitgeest – Groot Dorregeest in the Netherlands in order to better infer the way the vessels were originally used.

Table of Contents (short version):

1. General Introduction
2. Studying Vessel-Use using Curie-Point Pyrolysis Mass Spectrometry and Multivariate Analysis
3. Molecular Characterisation of Solid Organic Residues by Curie-Point Pyrolysis Gas Chromatography/Mass Spectrometry
4. Identifying Biomolecular Origins of Solid Organic Residues using Direct Temperature - resolved Mass Spectrometry and Multivariate Analysis
5. (under embargo)
6. (under embargo)
7. General Discussion
Appendix 1: Materials
Appendix 2: DTMS and DTMS/MS Study of Solid Organic Residues
Appendix 3: Organic Residue Analysis in Ceramic Studies - Implications for Conservation Treatment and Collections Management

Thesis: preparatory grounds used by Van Gogh (2006)

Title: Paints quantified: image analytical studies of preparatory grounds used by Van Gogh
Author: Beatrice Marino
University: University of Amsterdam
Year: 2006
ISBN-13: 978-90-77209-19-6
Type of document: PhD thesis
Download: http://www-old.amolf.nl/... (pdf files available)

From the Introduction:

In this thesis an in-depth imaging analytical study of grounds in a group of pictures painted on ready-primed carton supports is conducted, to investigate the differences between the paints. The study follows a new approach based on quantitative analytical techniques. The broader aim is to develop new, quantitative techniques for comparing and classifying paint sample cross-sections.

Table of Contents (short version):

1. Introduction

2. Imaging-SIMS characterization of selected ground paints in paintings by Van Gogh
2.1 Introduction
2.2 Materials
2.3 Interpretation of SIMS data
2.4 Case study
2.5 Technical discussion and conclusions
2.6 Acknowledgements
2.7 References

Appendix to Chapter 2
A.2.1 Menilite, the Paris Basin, and paint manufacturing and trading
A.2.2 Chert and menilite
A.2.3 Geology of the Paris Basin
A.2.4 Observations on the characteristics of other materials found in paints
A.2.5 Final comments
A.2.6 Acknowledgements
A.2.7 References

3. Quantitative colour analysis of ground paints in paint cross-sections
3.1 Introduction
3.2 Materials
3.3 Method of colour comparison in digital images
3.4 Discussion of the case study: grounds in paintings by van Gogh
3.5 Conclusions
3.6 Acknowledgements
3.7 References

4. Quantitative analysis of composition of ground paints in paint cross-sections
4.1 Introduction
4.2 Materials
4.3 Methodology of comparison of the material composition
4.4 Case study: grounds in paintings by van Gogh
4.5 Conclusions
4.6 Acknowledgements
4.7 References

5. Quantitative analysis of texture of ground paints in paint cross-sections
5.1 Introduction
5.2 Texture, structure, and morphology
5.3 Materials and methods
5.4 Method of texture analysis
5.5 Case study: selected grounds of van Gogh
5.6 Conclusions
5.7 Acknowledgements
5.8 References

6. A NanoSIMS study of a paint cross-section from a ground of Van Gogh's plaster figure of a female torso
6.1 Introduction
6.2 Materials
6.3 Results
6.4 Conclusions
6.5 Acknowledgements
6.6 References

Appendix A
Appendix B
Appendix C

Thesis: Binding medium, pigments and metal soaps (2005)

Title: Binding medium, pigments and metal soaps characterised and localised in paint cross-sections
Author: Katrien Keune
University: University of Amsterdam
Year: 2005
ISBN: 978-90-77209-17-2
Type of document: PhD thesis
Download: http://www.amolf.nl/... (pdf)
New Link: http://dare.uva.nl/... (pdf)


Table of contents (short version):
Introduction
1. Introduction
2. Imaging secondary ion mass spectrometry of paint cross-section taken from an early Netherlandish painting by Rogier van der Weyden
3. Studies on oil binding media in paint cross-sections
4. Analytical imaging studies clarifying the process of the darkening of vermilion in paintings
5. Metal soap aggregates in oil paintings from the 15th-20th century