Working with modern art requires conservators to consider not only the technical condition and the artist's vision but also the artwork's practical context, including exhibition, storage, transportation, and interaction with its surroundings. Assemblages by Władysław Hasior, composed of diverse and fragile materials, are particularly vulnerable to damage caused by improper handling, underscoring the necessity of thorough documentation and close collaboration with museum institutions. This article aims to illustrate the complexity of conserving modern art, where every stage of the process is crucial to preserving the work in its most authentic form and to shed light on the challenges encountered during the process.
In this model-based study the effect of atmospheric pressure plasma on rag paper and mould infested paper is determined. Visual examinations with a digital microscope show the removal of mould from the surface, changes of surface properties of selected papers and micro-damages to the paper fibres occurring during the treatment process. As plasma generates highly reactive chemical components, Ozone and UVC radiation are also present and have an influence on the treated surface. Therefore, single treatments of air plasma, hydrogen-argon, oxygen-argon plasma and Ozone and UVC treatments are compared. The results show that comparing to the Ozone and UVC treatment the plasma treatments show less damage on the paper surface and the removal of the mould is more effective. But it can also be seen that the oxidizing effect of plasma has an impact on the cellulose fibres.
This study investigates the identification and effects of atmospheric pollutants in the archaeological sites of the Athens basin, particularly at Kerameikos. The objective was to identify the pollutants surrounding this historically significant area at the center of a large city and assess the damage they inflict on the monuments. By examining the environment and documenting atmospheric parameters, it became evident how significantly geomorphology influences the dispersion of pollutants. The assessment of pollutants was achieved through a combination of marble sampling and air quality sensors. The collection of water washes and the use of diagnostic analysis methods documented the airborne elements deposited in the samples. The results were evaluated based on the climatic factors of deterioration, the sensors data, statistical graphs, and the bibliographic sources. In conclusion, gaseous particles and pollutants from wheeled vehicles are the biggest threat to the environment, and their limitation is also the most difficult.
The professional regulation of conservation-restorers in Spain and Portugal presents divergent trajectories addressing shared needs within the contemporary European context. Whilst Spain maintains the absence of specific professional regulation after four decades of heritage legislation without reform, Portugal has recently established pioneering comprehensive regulation through Decreto-Lei n.º 90/2024 (2024), effective from 23 November 2024. This comparative historical-legislative analysis evidences a fundamental paradox: Portugal regulates the profession whilst Spain regulates exclusively training, demonstrating that effective harmonisation necessarily requires systemic integration of education, professional regulation, and heritage legislation. Through documentary analysis of national regulations, comparative European frameworks, and E.C.C.O./ENCoRE directives and standards, the Portuguese 2024 regulatory model is identified as significantly more transferable to Spain than Italian or French models due to greater compatibility with decentralised systems.
Portable X-ray fluorescence (pXRF) is a powerful analytical tool; however, its application to the analysis of complex pigment mixtures and multilayered artistic paintings − particularly ternary and quaternary systems distributed across one or more layers − still presents significant challenges. This study investigates the effectiveness of pXRF in detecting specific pigments, such as azurite, cinnabar, and lead white, within complex mixtures and overlapping stratigraphic layers, which are typical features of historical paintings and polychrome sculptures. Cadmium yellow, a pigment commonly used in later periods as overpainting, was also successfully identified, providing insights into the usefulness of pXRF for testing on historical artworks, even when dealing with later additions or restorations. The insights gained from these experimental replicas were subsequently applied to the analysis of two historical paintings selected as case studies, in which the target pigments were found to be heterogeneously distributed and mixed in varying proportions.
This study assessed the diversity of microscopic fungi in two areas of the Archaeological Museum Park of Tunja, (Universidad Pedagógica y Tecnológica de Colombia), aiming to anlyze their potential impact on human health and their capacity to cause biodeterioration of heritage materials. A total of 50 samples were collected from air, surfaces, bioanthropological remains, and ceramic objects. These samples were cultured on Sabouraud agar with chloramphenicol (0,05 g/L) and incubated at a temperature of 25 °C. Macroscopic and microscopic analyses identified 20 genera of fungi and yeasts, with Penicillium (26,9 %), Cladosporium (15,6 %), Fusarium (14,4 %), and Mucor (5,4 %) being the most prevalent. These genera have been reported in the literature for their association with both infectious processes and material degradation. The findings indicate a dual potential risk, sanitary and conservation-related, highlighting the need to implement monitoring and environmental control strategies to protect both public health and culture heritage.
Bol de Llanes (Llanes bole) is one of the materials that appears recurrently in Spanish contracts related to the gilding of altarpieces. It was considered as an especially fine and smooth clay whose properties contributed to achieving optimal results in the process of burnished water gilding. Several historical artistic treatises refer both to its characteristic dark red color, and to the procedures used for its purification and preparation process. This study presents a compilation of a numerous altarpieces in which this specific material is believed to have been used. Furthermore, the research carried out − combining archival work with fieldwork − has made it possible to locate ancient deposits of red earth in the territory of the Llanes municipality. Samples have been collected from these sites, and experimental preparation of bole pellets has also been carried out.
While digital modelling of heritage objects has become standard practice, its multidisciplinary potential warrants greater emphasis. Using the case study of a rare Renaissance metallic celestial globe in Portugal, this article highlights the wide-ranging benefits of digitization across three key areas: historical research, conservation support, and public outreach. It underscores the importance of involving historians, digitization specialists, curators, and conservation professionals from the outset − both in prioritizing objects for modelling and in defining the criteria for digitization. The article advocates for a broad and inclusive perspective, encouraging awareness of the diverse disciplines that can benefit from digital models, whether in immediate applications or future research.
This article analyses the update of the Linternauta digital platform through the technical cataloguing of 427 magic lantern slides preserved in three Portuguese public institutions. The study addresses the terminological instability surrounding the description of production techniques and proposes an operational classification model based on four categories: pictorial, printed, photographic and mixed. The classification combines macroscopic observation, historical sources and recent material studies. Results reveal a significant predominance of hybrid technical configurations within the analysed corpus, consistent with previous research on Portuguese collections. The proposed terminology facilitates interinstitutional comparison, supports structured digital access and indirectly contributes to preventive conservation strategies by potentially reducing the handling of fragile materials. The Portuguese case highlights the methodological value of technical cataloguing for heritage documentation and digital humanities.
Community-based murals return numerous positive outcomes to the communities involved. However, these works embody a significant sense of impermanence. They are intricately tied to the ever-changing social context from which they emerge, and their placement in public spaces exposes them to a multiplicity of risks. This article examines policies and practices related to the preservation of community-based murals, deploying the Riachos murals as its case study. This involved comprehensively examining the murals’ evolution and gathering data from stakeholders to gain insights into the perceptions of the murals as cultural heritage and the different stances on their perishable nature. This furthermore presents a critical discussion on the key issues involved, with the emphasis placed on the unique character of community-based murals, particularly their dependence on the dynamic social context of their originating community, before calling for a departure from traditional approaches to conservation decision-making.
Chromogenic film is a significant part of twentieth-century visual culture, yet guidelines for such photographs rarely integrate material, technical, and cultural characteristics into their conservation. As a result, millions of slides and transparencies are neglected within institutional decision-making. This article presents an interdisciplinary methodology combining an online survey − gathering testimonies and assessing current perceptions − and the assessment of c. 54,000 photographs in Portuguese collections. The combined approach proved effective in identifying recurrent deterioration issues, gaps in reference resources, and contextual factors shaping the value and interpretation of these types of photographs, including its role in contemporary artworks. Documenting both material and immaterial significance emerged as essential for supporting preservation strategies and avoiding further decay. While the method is time-intensive and shaped by qualitative variability, its holistic perspective offers clear advantages for future research. The framework provides a replicable tool for understanding and preserving chromogenic film photographs in Portugal and beyond.
This study discusses the potentials and limitations of non-destructive material analysis by providing insights into the current state of research on the composition and specific characteristics of the materials used for the Imperial Crown, including gold, gemstones, pearls, niello and enamel. The cloisonné enamel plaques are of particular interest, given that glass is a complex mixture of different raw materials. The following complementary non-invasive methods were applied: digital microscopy, X-ray fluorescence analysis, Raman, optical absorption and reflection spectroscopy and multiband imaging. Determining the materiality proved to be a complex task, due to a number of restrictions. These included the limited range of suitable methods, a lack of knowledge regarding specific materials and established manufacturing traditions, such as recycling, or the presence of overlapping characteristics among materials of different origins. Although the origin of the crown itself cannot yet be determined, the analytical results provide a reliable basis for further research.
As with any other material, canvases made from cellulosic fibres employed by artists are susceptible to degradation, which leads to a loss of the textiles’ ability to support the paint layers. Lining has historically been the most prevalent method for addressing the issue. However, the potential risks associated with this approach have now been widely documented, prompting a shift towards exploring alternative solutions. Consolidation treatment constitutes a potential route to restore adequate mechanical properties to depolymerized canvases. In this regard, cellulose nanocrystals (CNC) represent a bio-based alternative to conventional conservation products which offers possible advantages in terms of compatibility, performances and sustainability. Building upon prior research, ongoing doctoral research aims to enhance understanding of key issues pertaining to CNC, which, despite their significance, have been insufficiently explored. These include aspects such as penetration into the substrate, adhesion to the canvas and methods for reducing the quantity of water required for its application.
Modern and contemporary artworks often present complex conservation challenges due to the widespread use of synthetic paints and the diversity of their formulations. This study investigates changes induced by photodegradation in selected commercial products representing four major classes of synthetic binders − acrylic, alkyd, polyvinyl acetate, and nitrocellulose − commonly used in twentieth-century painting. Samples of artistic paints, polymer dispersions, alkyd enamels, and nitrocellulose varnish were artificially aged under UV radiation and examined by ATR-FTIR spectroscopy, colourimetry, and digital microscopy. The results revealed distinct degradation patterns within and between binder classes, including variable colour shifts and characteristic spectral changes linked to oxidation and polymer chain scission. The findings emphasise the influence of diverse paint formulation factors, seen as a whole system, on material stability and the need for reference spectra of aged materials to support identification in conservation studies. The research forms part of a broader project on synthetic paint binders in post-war Polish art.
Textile painting has characteristics that distinguish it from painting on canvas, and these differences also require a distinct conservation methodology. In this article, we discuss the removal of rust stains from a cotton textile painting created using rust printing and watercolor. The rust used in the artwork migrated across the fabric, generating stains that combined with adhesive and mold residues, altering the appearance of the work and making it more difficult to interpret. The rust stains were removed using chelating agents − citrate and oxalate − at controlled pH levels, applied in a xanthan gum gel to limit solvent migration within the fabric. Both chelating agents proved effective in cleaning and enabled a controlled treatment that meets conservation criteria for textile paintings.
In the age of climate change, even cultural heritage and the meaning of the past must be rethought to meet contemporary and future needs. This task is already being addressed encompassing studies of cultural heritage in relation to the Anthropocene, people-centred approaches, and post-human perspectives, which I build on here. From an archaeological perspective, I ask what it means to imagine a framework for cultural heritage that is inspired by the notion of regeneration embracing continuous change and transformation in relation to both natural and cultural heritage. In this perspective, what matters is not safeguarding authentic remains ofthe past such as monuments and sites, but to ensure the preconditions for the wellbeing of fellow human and non-human beings living under changing circumstances in the present and the future. I conclude with discussion of some implications ofwhat such a life-centred perspective may mean for future practices of heritage management beyond central principles of the 1964 Venice Charter.
Digital technologies have emerged as important tools for the cultural heritage and for the museums sector. When the Venice Charter was published in 1964, technological tools were essentially used to collect and store data. Nowadays, with the advent of artificial intelligence, they cover more and more functional areas of work in cultural heritage. This also includes the possibility to visit exhibitions and museums without leaving our houses. But can these immersive experiences replace the direct contact with the spaces and the objects? Without denying the potentialities of digital technologies for the cultural heritage sector, we aim to analyse, through the case study of historic house museums, their impact on the perception of the spirit of place. This concept transforms the visit to the real place into a unique experience, capable of creating in the public a sense of identity, affection, belonging and memory.
The 18th century in Portugal was a time of grandiose constructions, marked by the construction of the National Palace of Mafra (NPM), listed as a UNESCO World Heritage Site since 2019. Our understanding of this heritage is limited due to the minimal documentation that has survived to the present day. In this research, we address the lack of stereotomic studies, focusing on developing a methodology to document and model these constructive solutions. Our methodology includes the inventory of the stereotomic solutions, surveying with laser scanning and/or photogrammetry, understanding the generative geometric principles, and generating parametric models. Within the scope of this paper, we address one vault that, when represented as a parametric model, can be reused to fit other vaults of the NPM or of the same type in other buildings. These results represent an initial step toward developing a reusable library of stereotomic solutions for surveys and contemporary designs.
Since the Venice Charter, heritage conservation has evolved to encompass historic urban areas, a process refined by subsequent charters, which frame historic cities as complex systems of cultural stratification requiring multidimensional diagnosis. In the traditional Chinese context, historic urban space follows a distinct logic: architecture is marked by material impermanence, while historical continuity are sustained through cultural memory. The interaction between this impermanence and modern urbanization has produced widespread physical absence, creating fundamental challenges for interpreting historic urban space. This paper proposes a framework that understands historic urban space as the dynamic unity of material transformation and narrative continuity, recognizing architecture, ruins, and physical absence as equally constitutive. Using the Mendong area in Nanjing as a case study, stratigraphic analysis and morphological reconstruction are applied to examine urban form in both present and absent states, providing a new theoretical and methodological tools for interpreting historical knowledge within Chinese urban space.
