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Art Conservation > Vocab for Midterm > Flashcards

Vocab for Midterm Flashcards

1
Q

destructive scientific analysis

A

takes sample from artwork

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2
Q

non-destructive scientific analysis

A

exploits light rays over entire piece with compromising it

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3
Q

macrophotograph

A

look at state of surface, painting techniques

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4
Q

microphotograph

A

looks for types of pigments used plus can see cracks

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5
Q

raking light

A

tangential light that shows details of surface (incisions, giornatas, flaking, etc)

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6
Q

UV Fluorescence

A

[fluoresce= turn bright]. Stays on surface… reacts with organic material like vanishes and binders [recent ones are much less fluorescent than older ones so touch ups and restorations appear dark]… not good for fresco but can see a secco things since organic binders plus can see recent restoration

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7
Q

Infrared

A

[absorb= dark]; semi-penetrating: organic materials are totally transparent but can see underdrawings made of carbon black and pouncing or reused canvas [good for panel painting because of white gesso ground so nice contrast]. Some pigments are opaque whereas others aren’t [black and green absorb radiation and turn opaque and dark]… very helpful to cleaning process bc can see thru dark varnish to what is underneath.

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8
Q

X-Rays

A

[opaque= bright]; most penetrating (short wavelength and high energy): reveal lots about structure… based on atomic weight so metals like lead which are heavy show up whereas canvas, wood, organic material and other pigments are transparent… can see texture of cloth and where frame was based on thickness of gesso layers… good for CANVAS paintings bc paint is thick and thus opaque to x rays [also helps with interpretation bc u can see changes underneath]…. Can identity chemical elements in pigments… not good for PANEL painting bc paint layers are too thin and not good for fresco because of opaque intonaco.

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9
Q

Cross-section

A

destructive analysis, take sample from piece and examine the layers of paint under microscope: really good for understanding techniques and process

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10
Q

point chisel

A

used to remove quickly the excess stone until you arrive a few inches from actual surface

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11
Q

Tooth/claw chisel

A

produces parallel lines for slightly more detailed work

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12
Q

Round chisel and flat chisel

A

smooths out stone

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13
Q

rasps

A

completely smooth stone, rubbed over stone rather than hit by hammer.. also use sandpaper and pumus stone to gloss stone

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14
Q

hand drill

A

makes deep furrows and channels

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15
Q

Marble

A

any stone that can be polished to high gloss, involves calcium carbonate

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16
Q

Technique for Sculpture

A
  1. make sketches to determine positions
  2. make clay model [BOZZETTO] that you can change to suit your needs
  3. Make more drawings and more clay sketches
  4. decide on what you are going to do and make refined clay model (still small)
  5. Make full scale clay model and then transfer it to plaster casts
  6. Take measurements taken from bozzetto and transferred to block of stone by DEFINITOR tool to make plumb lines which was later refined to be precise
    Note: Master would delegate a lot of the carving (removing) to assistants and would only do final details… a workshop enterprise plus Plaster casts can be used to create a number of replicas
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17
Q

How to make colored glass?

A
  1. melting river sand [silica] at high heat by burning wood in kiln [decrease m temp by adding K or Na carbonates which dropped it form 3000 to 2000… eventually had to use MELTERS (special ashes) instead]
  2. cool glass slightly and add combinations of metal to make upwards of 18,000 different colors:
    • Copper= turquoise
    • Magnesium= purple, brown
    • Cobalt= blue
    • Iron= red and yellow
    • Lead= other bright colors
    • Gold= gold lead in sandwich of glass with a green on red or transparent base and a transparent top that is then melted together→ less stable since not unified
    • Silver= same process as gold
  3. Pour fluid glass into frames [pizza]
  4. cut when cool to different shapes and styles …
    Note: Need to add stabilizers to glass otherwise it will fall apart
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18
Q

Difference between medieval mosaics and later mosaics?

A

In medieval mosaics: = tesserae tiny and close together, not applied in orderly rows, very 2D and not very flat, faces don’t have lot of detail

in later mosaics: more detail given to faces, orderly application of tiles, made to look naturalistic and mimics painting

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19
Q

Tesserae

A

small pieces of glass used in mosaics

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20
Q

How to make mosaic?

A
  1. make arriccio [lime and pozzolana] on surface and let it dry
  2. Do the rest of the mosaic in giornata [adding the intonaco as you go]
  3. paint simple outline on ground [or pounce] plus paint ground a nice rich color
  4. Go from top to bottom when applying the tesserae [in rows or chunks with inclination to catch light]…..
    note: if you are a master, you create design and let your minions do the work
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21
Q

Supports

A

wall, wooden panel, canvas, paper, stone, etc

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22
Q

Binders

A

a fluid media which needs to dry and forms film on surface: includes lime, egg, oil, glue, water, gum (transparent and stable over time)

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23
Q

Egg Tempera

A

o Applied in thin layers/brush strokes to avoid cracking
o Produced glossy affect (flat and uniform)
o Used since antiquity
o Everything needs to pre organized since the water evaporates quickly
o Durable if in good conditions
o would mix pure pigment with more and more white, so shadows of piece never fully black

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24
Q

Transition from Egg to Oil

A

~1500, TRANSITION IN STYLE= TRANSITION IN TECHNIQUE [at first artists used a combination of both]

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25
Q

Transition from wood to canvas

A

~1478

26
Q

Oil

A

a binder, replaced egg in Ren because gave greater freedom because could be mixed and applied in thick brush strokes… shadows created by mixing black with pigments (dimensionality produced).. chiaroscuro

27
Q

pigment

A

powder that gives paint its color

28
Q

paint

A

pigmet + binder

29
Q

What can damage a work of art?

A

• No restoration lasts forever (~50 yrs)
- a constantly changing environment
• Dirt built up: smoke, dust, pollution (C,N, S)
• Buildings move which creates cracks
• Salt from water rising from foundation-> capillary action so only goes up so far… water evaporates and leaves film of salt whcih crystallizes and damages painting [esp S] or makes it opaque and white
• Previous restorations
• Human touch
• Vanishes yellow and then have to be taken off
• Additions such as fig leaves or iron drapery or overpaint
• Stone is very porous so will absorb or calcium
- wood warping, cracks along planks or its nails expanding

30
Q

How do we dully understand a piece?

A

-observations with naked eye
-scientific analysis
-written sources: tell us about original techniques, organization of artist workshop [aka who made painting], dating, geographic provenance, origin of material… includes:
Vitruvius [1st C BC], Pliny the Elder [1st C Ad], Teophilus [12th C], Cennini [late 14th C, talks about pigments], Vasari [16th C, major techniques])

31
Q

a fresco

A

fresh + wet: inorganic pigments mixed with a little water and then painted directly on the wet ground before it dried… end result: matte and opaque

32
Q

a secco

A

painted on after ground was dry.. binder can be oil or egg and pigments can vary since they don’t have to worry about lime rxn once it is dry… often these colors later painted on frescoes or others are entirely painted a secco: shiny with no giornatas or incisions

33
Q

fresco pigments

A

have to be inorganic minerals that don’t react with the lime [basic]:
• White: St John’s white, made of lime [if u use lead white, it turns black a fresco!]
• Red and Yellow: iron based
• Green: green earth (aluminum)
• Black: burnt bones/ wood→ Carbon Black
• Blue: very tricky, lapis lazuli (from iran) which was called ultramarine [stones treated + purified, incredibly expensive!]… copper blue called azurite (first would paint red/brown background [morellone technique to give richness to color] a fresco then azurite done as a secco finish with egg/oil/glue binder… less durable and turns green via hydration)… SMALT (blue glass, light blue common in 1500s)
• Gold: gold leaf added a secco

34
Q

carbonation of wet lime

A 
o	Ca(OH)2 + CO2→ CaCO3 + H2O
o	Calcium hydroside + in atmosphere→ calcium carbonate + evaporation from fresco
35
Q

Ground [fresco]

A

normally clay or gypsum plus inert FILLERS like straw to absorb water, slow down drying process, and create a skeleton to prevent cracking… goes from coarse to fine

36
Q

How to make a fresco?

A
  1. mix pozzolana and wet lime together to form the arriccio
  2. once arriccio is dry, place a more refined second layer of ground [the intonaco]
  3. While the intonaco is wet, transfer your drawing to it [sinopia drawn on arriccio or cartoons transfered via pouncing or incisions] and then paint it [can be in giornata or in pontata]
37
Q

arriccio

A

coarse first layer of ground that is placed directly on the wall to smooth it

38
Q

pozzolana

A

volcanic earth that is used as a inert filler in italian fresco ground because it is suited to the humid environment in that speeds up drying process

39
Q

intonaco

A

the more refined layer of ground [same lime but finer pozzolana] that is painted on in the fresco technique

40
Q

giornata

A

area of fresco that is painted each day: joins are visible with raking light, usually follows the figure plus one for head or hands, size decreases in Ren since master would paint them himself

41
Q

pontata

A

levels of scaffolding each day since entire workshop would work on fresco-> seen more in medieval era

42
Q

Sinopia

A

Rough sketches made on the arriccio that were used as guide for application that weren’t always fully followed-> middle ages

43
Q

cartoon

A

made by enlarging a small sketch via a grid until it is full size, then you transfer outlines of cartoon to fresco by pouncing or incisions directly onto the wet intonaco

44
Q

pouncing

A

process used to transfer cartoon to wall: use pin pricks along outlines of figure, put paper on wall and brush with charcoal powder which leaves line on the wet ground–> 1400-1500

45
Q

transition from sinopia to cartoon

A

~1400

46
Q

incisions

A

used like pouncing to transfer outline of cartoon to wet intonaco: used sharp instrument either thru paper [indirect] or free hand on the intonaco for architecture [direct]–> used 1500s-on… can see with raking light

47
Q

How can wood vary?

A

-choice of wood:
o Italy + spain= POPLAR (not very stable)
o Northern Europe= OAK (stable b/c doesn’t warp and woodworms don’t like it)
o Other types: cherry, walnut, etc
-cut of wood: tangential (from sides) or radial (stable, from center)
-arrangement in panel:
planks mostly applied vertically but horizontally in adriatic sea region [with big structural problems]

48
Q

Treatment of wood?

A
  • at first would just paint on wood
  • in middle ages: make flat surface by gluing cloth on wood [IMPANNATURA/ INCAMOTTATURA] to make movement of wood more soft, then plaster ground [gesso] was applied in multiple layers, smoothed, then it was painted on…. plus have support behind panel
49
Q

Gesso

A

mix of gypsum (calcium sulfate) with organic glue (animal, skin, bone etc)

50
Q

Gold leaf

A

square sheets pounded from gold until very thin, was expensive

51
Q

Water/ Bole Gilding

A

(for big gold backgrounds of middle ages): gesso first painted red/brown or use clay to give warm hues, then gold leaf stuck on by applying BOLE onto gesso with a brush and then sticking on gold… then gold was BURNISHED (rubbed) to make it shiny

52
Q

Ways in which gold could be worked?

A

The Gold could then be:
 Embossed with punch mark tool
 Painted over to give a color depth
 Relief covered with gold (PASTIGLIA)
 Decorate further with small jemstones and glass
 Paint over gold and then scrape away to revel gold
 Tulle and carve gold surface

53
Q

Mordant Gilding

A

(for small final details done after paint was down, like glitter glue): A mix of oil and resin would be put down (sometimes mixed with white pigment), then gold added on top and brushed away where it did not stick

54
Q

Shell gilding

A

used after gold was less popular (Ren, viewed as unrealistic), gold sed as glaze to give golden light to piece, it was missed with veggie gum in powder form and applied with brush from a shell

55
Q

How to paint a wood panel?

A
  1. sketch in carbon black on the white gesso of the canvas covered wood [or transfer drawing via pouncing or incisions]
  2. add flesh undertones [grey/green/ocre-> Verdaccio] or red for gold
  3. Then paint with your pigments mixed with egg
56
Q

Wood Panel Pigments

A

Pigments include those for fresco plus more=
• Green: VERDIGRIS-> copper that can be used to make copper resinate [bright transparent green], unstable, oxidizes to brown
• Red: vermillion [HgS]
• White: lead white
• Orange= lead red
• Yellow= tin and lead
• LAKE= red or yellow applied over already painted areas to increase transparency→ organic and thus unstable–> glaze=unstable?

57
Q

Frame structure

A

CIMASA at top, CENTRAL PANEL, PREDELLA at bottom…. it is important that frame stays with piece because they were made to go together

58
Q

BOLE

A

a cushion layer of egg white and water

59
Q

Types of Canvas Paintings differ

A
  • different weaves: square/flat, diagonal
  • fibers: animal, vegetables→cotton (used later due to industrial revolution), hemp, linen (resistant to acid environments which occurs in oil paintings)]
  • different support/ stretcher [fixed vs adjustable]
60
Q

Making a Canvas Painting

A
  1. Priming: cloth gets a bit of glue [SIZING]
  2. add ground: originally gesso, then glue ground, finally ground was made of oil with a bit of pigments to increase drying plus give some color to produce intense effect [brown ground, often left visible]
  3. paint with your mixture of oil and pigment [no preparatory drawings]
61
Q

oil used for binder

A

Linseed: Fast drying but yellows
Poppyseed and walnut: dry slower but don’t yellow
Oil dries via polymerization which is very strong and stable

Art Conservation (1 decks)

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