Journal of The American Institute for Conservation

The fear of damage to objects of art and cultural heritage during transport continues to plague the heritage profession. This is largely a fear of the unknown based mostly on anecdotal horror stories, rather than practical experience, testing, and an understanding of the mechanics of materials. In order to provide a solid basis for further developments in the mitigation of transport risks, the author conducted a statistical survey of the loan transport records of thirteen museums on four continents. The objective was to determine how often damage occurred, and what the root cause was, including vibrations or shock. The results showed that out of almost 4000 objects studied, including over 12,000 object movements and 25,000 handling moments, only 151 changes were found according to courier reports. Of those, only 38 were considered to be serious or bad. The root cause was mostly poor handling or packaging and not vibrations nor shock during actual transport. There is still room for improvement in the level of care taken during the transport of objects. However, the focus needs to be on training and awareness of personnel who handle such objects, and not on expensive, overdesigned mitigation solutions. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)13(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic), (sic)(sic)4000(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic) ((sic)(sic)(sic)12, 000(sic)(sic)(sic)(sic)(sic)(sic)25, 000(sic)(sic)(sic)(sic)(sic)), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)151(sic)(sic)(sic), (sic)(sic)(sic)(sic)38(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).Translation: Jiayi Feng; revision: Yuyin "Charlotte" May. La crainte de dommages caus & eacute;s aux objets d'art et aux biens culturels lors de leur transport continue de peser sur le milieu professionnel patrimonial. Cela repose en grande partie sur une peur de l'inconnu, fond & eacute;e principalement sur des r & eacute;cits anecdotiques alarmistes, plut & ocirc;t que sur l'exp & eacute;rience pratique, les tests, et la compr & eacute;hension des comportements m & eacute;caniques des mat & eacute;riaux. Afin de fournir une base solide & agrave; de futurs d & eacute;veloppements en mati & egrave;re de r & eacute;duction des risques li & eacute;s au transport, l'auteur a men & eacute; une enqu & ecirc;te statistique & agrave; partir des rapports de transport pour pr & ecirc;t de treize mus & eacute;es r & eacute;partis sur quatre continents. L'objectif & eacute;tait de d & eacute;terminer la fr & eacute;quence des dommages et d'en identifier les causes, notamment les vibrations ou les chocs. Les r & eacute;sultats ont montr & eacute; que, sur pr & egrave;s de 4 000 objets & eacute;tudi & eacute;s, comprenant plus de 12 000 d & eacute;placements et 25 000 manipulations d'objets, seuls 151 changements ont & eacute;t & eacute; signal & eacute;s dans les rapports des transporteurs. Parmi ceux-ci, seuls 38 ont & eacute;t & eacute; consid & eacute;r & eacute;s comme significatifs ou s & eacute;rieux. La cause principale & eacute;tait le plus souvent une mauvaise manipulation ou un conditionnement inad & eacute;quat, et non les vibrations ou les chocs survenus durant le transport proprement dit. Il existe encore une marge d'am & eacute;lioration quant au soin port & eacute; durant le transport des objets. N & eacute;anmoins, les efforts devraient porter sur la formation et la sensibilisation du personnel charg & eacute; de leur manipulation plut & ocirc;t que sur des solutions on & eacute;reuses et sophistiqu & eacute;es de r & eacute;duction de risques. Traduit par St & eacute;phanie Auffret. O medo de danificar objetos de arte e patrim & ocirc;nio cultural durante o transporte continua a afetar os profissionais do patrim & ocirc;nio. Isso & eacute;, em grande parte, um medo do desconhecido, baseado principalmente em est & oacute;rias de horror, em vez de experi & ecirc;ncia pr & aacute;tica, testes e compreens & atilde;o da mec & acirc;nica dos materiais. Para fornecer uma base s & oacute;lida para futuros desenvolvimentos na mitiga & ccedil;& atilde;o dos riscos de transporte, o autor realizou uma pesquisa estat & iacute;stica dos registros de transporte de empr & eacute;stimos de treze museus em quatro continentes. O objetivo era determinar com que frequ & ecirc;ncia os danos ocorriam e qual era a causa raiz, incluindo vibra & ccedil;& otilde;es ou choques. Os resultados mostraram que, de quase 4.000 objetos estudados, incluindo mais de 12.000 movimenta & ccedil;& otilde;es de objetos e 25.000 momentos de manuseamento, apenas 151 altera & ccedil;& otilde;es foram encontradas, segundo relatos de couriers. Dessas, apenas 38 foram consideradas s & eacute;rias ou graves. A causa raiz foi principalmente manuseamento ou embalagem deficiente, e n & atilde;o vibra & ccedil;& otilde;es ou choques durante o transporte em si. Ainda h & aacute; espa & ccedil;o para melhorias ao n & iacute;vel de cuidado tomado durante o transporte de objetos. No entanto, o foco precisa estar na forma & ccedil;& atilde;o e na conscientiza & ccedil;& atilde;o do pessoal que manuseia tais objetos, e n & atilde;o em solu & ccedil;& otilde;es de mitiga & ccedil;& atilde;o caras e superdimensionadas. Translation: Francisco Vieira Revision: Teresa Lan & ccedil;a Ruivo. El miedo a que los objetos de arte y patrimonio cultural se da & ntilde;en durante el transporte sigue afectando a los profesionales del patrimonio. Esto se debe principalmente a un temor a lo desconocido basado mayormente en historias de horror anecd & oacute;ticas, m & aacute;s que en la experiencia pr & aacute;ctica, pruebas y una comprensi & oacute;n de la mec & aacute;nica de los materiales. Con el fin de proporcionar una base s & oacute;lida para futuros desarrollos en la mitigaci & oacute;n de riesgos en el transporte, el autor realiz & oacute; una encuesta estad & iacute;stica de los registros de transporte de pr & eacute;stamos de trece museos en cuatro continentes. El objetivo era determinar con qu & eacute; frecuencia ocurr & iacute;a da & ntilde;o y cu & aacute;l era la causa principal, incluyendo vibraciones o choques. Los resultados mostraron que, de casi 4.000 objetos estudiados, incluyendo m & aacute;s de 12.000 movimientos de objetos y 25.000 momentos de manipulaci & oacute;n, solo se encontraron 151 cambios seg & uacute;n los informes de los courier/comisarios. De esos, solo 38 se consideraron graves o malos. La causa ra & iacute;z se debi & oacute; principalmente al manejo o embalaje deficiente y no a las vibraciones ni a los golpes durante el transporte real. Todav & iacute;a hay margen de mejora en el nivel de cuidado durante el transporte de objetos. Sin embargo, el enfoque debe estar en la capacitaci & oacute;n y la concienciaci & oacute;n del personal que maneja dichos objetos, y no en soluciones de mitigaci & oacute;n caras y sobre dise & ntilde;adas. Traducido por Estibaliz Guzm & aacute;n; revisado por Mar & iacute;a del Rosario Mollinedo; revisi & oacute;n final por Josefa Orrego y Amparo Rueda.

This study investigates whole-object cleaning treatments for paintings having large areas of bare cotton canvas. It evaluates short- and long-term impact of various aqueous washing/bleaching treatments on fabric color and tensile strength. Material forming the subject of the testing was cotton duck from the studio of artist Morris Louis; it was artificially aged by exposure to elevated temperature. Immediate effects of treatments were monitored, as were consequences of further post-treatment accelerated ageing. Post-treatment ageing assessed impact of treatments on long-term stability. Color measurements, specifically lightness differences Delta L*, served as indicators of appearance change caused by ageing-derived discoloration and the treatments. Corresponding changes in fabric strength were measured by instrumental tensile testing done on individual warp and weft yarns separated from the various test samples. Large numbers of yarns of each specimen condition were tested for tensile strength. Statistical analysis was conducted on the sets of tensile strength data to determine significance of differences in mean tensile strength values. Study results may inform understanding of possible outcomes-short and long term-of washing/bleaching treatments on paintings showing large areas of discolored, bare cotton canvas. Findings may guide choice of treatment and treatment parameters according to the needs of object under consideration.

The Friendly Grey Computer--Star Gauge Model #54 by Edward Kienholz exemplifies the artist's assemblage practice, where he constructed sculptures using found materials, including various industrial metal elements. Stored intermittently in a wooden crate for 45 years, the sculpture exhibited white, crystalline efflorescence on several metal components. The unknown efflorescence was characterized using ultraviolet-induced fluorescence (UVF), micro-Fourier transform infrared spectroscopy (& micro;-FTIR), Raman spectroscopy, scanning electron microscopy-energy dispersive X-ray spectroscopy (SEM-EDS), and handheld X-ray fluorescence (p-XRF) to inform treatment and long-term preservation. It was identified as cadmium formate dihydrate (Cd(HCOO)2 & centerdot; 2H2O), a hazardous corrosion product resulting from cadmium-plated metal fastenings used in the sculpture. Solid-phase microextraction (SPME) coupled with gas chromatography - mass spectrometry (GC - MS) of the microclimate inside the crate showed the presence of formic acid, the likely cause of the formate species. The cadmium formate dihydrate was reduced with safety precautions in place, and the sculpture was rehoused in a newly constructed wooden crate lined with Marvelseal 360 to limit the emission of volatiles within the crate over time. Results from this study highlight where cadmium formate dihydrate can be found within heritage collections and provide insight into Kienholz's artistic practice. "(sic)(sic)(sic)(sic)(sic)(sic)(sic)-(sic)(sic)54(sic)"(The Friendly Grey Computer--Star Gauge Model #54)(sic)(sic)(sic)(sic)-(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).45(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(UVF),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic) (mu-FTIR),(sic)(sic)(sic)(sic) (Raman),(sic)(sic)(sic)(sic)-(sic)(sic)(sic)(sic)X(sic)(sic)(sic)(sic) (SEM-EDS)(sic)(sic)(sic)X(sic)(sic)(sic)(sic)(sic)(sic) (Handheld XRF)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)Marvelseal (R) 360 (sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic). Translation: Chongwen Liu; revision: Pengxiao Hao. The Friendly Grey Computer--Star Gauge Model #54 d'Edward Kienholz illustre la pratique de l'assemblage par l'artiste, qui construisait des sculptures & agrave; partir de mat & eacute;riaux trouv & eacute;s, notamment divers & eacute;l & eacute;ments m & eacute;talliques industriels. Conserv & eacute;e de fa & ccedil;on intermittente dans une caisse en bois pendant 45 ans, la sculpture pr & eacute;sentait une efflorescence cristalline blanche sur plusieurs composants m & eacute;talliques. Cette efflorescence non identifi & eacute;e initialement a & eacute;t & eacute; caract & eacute;ris & eacute;e au moyen de la fluorescence induite par ultraviolet (UVF), de la micro-spectroscopie infrarouge & agrave; transform & eacute;e de Fourier (mu-FTIR), de la spectroscopie Raman, de la microscopie & eacute;lectronique & agrave; balayage coupl & eacute;e & agrave; la spectroscopie de rayons X & agrave; dispersion d'& eacute;nergie (SEM-EDS), ainsi que de la fluorescence X portable (p-XRF), afin d'orienter le traitement et la conservation & agrave; long terme. Elle a & eacute;t & eacute; identifi & eacute;e comme du formiate de cadmium dihydrat & eacute; (Cd(HCOO)(2) & centerdot; 2H(2)O), un produit de corrosion dangereux provenant de fixations m & eacute;talliques plaqu & eacute;es de cadmium utilis & eacute;es dans la sculpture. La microextraction en phase solide (SPME) coupl & eacute;e & agrave; la chromatographie en phase gazeuse - spectrom & eacute;trie de masse (GC-MS) du microclimat & agrave; l'int & eacute;rieur de la caisse a r & eacute;v & eacute;l & eacute; la pr & eacute;sence d'acide formique, cause probable de la formation de l'esp & egrave;ce formiate. Le formiate de cadmium dihydrat & eacute; a & eacute;t & eacute; r & eacute;duit en appliquant des mesures de s & eacute;curit & eacute; appropri & eacute;es, et la sculpture a & eacute;t & eacute; reconditionn & eacute;e dans une nouvelle caisse en bois doubl & eacute;e de Marvelseal (R) 360, afin de limiter l'& eacute;mission de compos & eacute;s volatils & agrave; l'int & eacute;rieur de la caisse dans le futur. Les r & eacute;sultats de cette & eacute;tude mettent en & eacute;vidence les contextes dans lesquels le formiate de cadmium dihydrat & eacute; peut & ecirc;tre rencontr & eacute; au sein de collections patrimoniales et apportent un & eacute;clairage sur la pratique artistique de Kienholz. Traduit par Monique Benoit. O & laquo;Friendly Grey Computer--Star Gauge Model #54 & raquo; de Edward Kienholz exemplifica a pr & aacute;tica de montagem do artista, onde ele construiu esculturas usando materiais encontrados, incluindo diversos elementos industriais de metal. Armazenada, intermitentemente, em uma caixa de madeira por 45 anos, a escultura exibia efloresc & ecirc;ncia cristalina branca em v & aacute;rios componentes met & aacute;licos. A efloresc & ecirc;ncia desconhecida foi caracterizada usando fluoresc & ecirc;ncia induzida por ultravioleta (UVF), espectroscopia infravermelha com transformada de Fourier micro (mu-FTIR), espectroscopia Raman, espectroscopia de dispers & atilde;o de energia de radia & ccedil;& atilde;o de micromicroscopia eletr & ocirc;nica de varredura (SEM-EDS) e fluoresc & ecirc;ncia de raios X de m & atilde;o (p-XRF) para orientar o tratamento e a preserva & ccedil;& atilde;o a longo prazo. Foi identificado como diidrato de formiato de c & aacute;dmio (Cd(HCOO)2 & centerdot; 2H2O), um produto corrosivo perigoso resultante de fixa & ccedil;& otilde;es met & aacute;licas revestidas a c & aacute;dmio usadas na escultura. A microextra & ccedil;& atilde;o em fase s & oacute;lida (SPME) combinada com cromatografia gasosa - espectrometria de massa (GC - MS) do microclima dentro da caixa mostrou a presen & ccedil;a de & aacute;cido f & oacute;rmico, prov & aacute;vel causa da esp & eacute;cie formi & aacute;tica. O dihidrato de formiato de c & aacute;dmio foi reduzido com precau & ccedil;& otilde;es de seguran & ccedil;a, e a escultura foi realocada em uma caixa de madeira rec & eacute;m-constru & iacute;da forrada com Marvelseal (R) 360 para limitar a emiss & atilde;o de compostos vol & aacute;teis dentro da caixa ao longo do tempo. Os resultados deste estudo destacam onde o dihidrato de formiato de c & aacute;dmio pode ser encontrado nas cole & ccedil;& otilde;es de patrim & ocirc;nio e fornecem uma vis & atilde;o sobre a pr & aacute;tica art & iacute;stica de Kienholz. Translation: Francisco Vieira; revision: Teresa Lan & ccedil;a Ruivo. La "Friendly Grey Computer--Star Gauge Model #54" de Edward Kienholz, ejemplifica la pr & aacute;ctica de ensamblaje del artista, donde construy & oacute; esculturas utilizando materiales encontrados, incluidos varios elementos met & aacute;licos industriales. Almacenada intermitentemente en una caja de madera durante 45 a & ntilde;os, la escultura present & oacute; una eflorescencia blanca y cristalina en varios componentes met & aacute;licos. Esta eflorescencia desconocida se caracteriz & oacute; mediante fluorescencia inducida por ultravioleta (UVF), espectroscopia infrarroja transformada de Fourier (mu-FTIR), espectroscopia Raman, microscop & iacute;a electr & oacute;nica de barrido con espectroscopia de rayos X por energ & iacute;a dispersiva (MEB-EDS) y fluorescencia de rayos X port & aacute;til (p-XRF) para fundamentar su tratamiento y conservaci & oacute;n a largo plazo. El compuesto se identific & oacute; como formiato de cadmio dihidratado (Cd(HCOO)2 & centerdot; 2H2O), un producto de corrosi & oacute;n peligroso resultante de los cierres met & aacute;licos cadmiados utilizados como parte de la obra. La microextracci & oacute;n en fase s & oacute;lida (SPME) combinada con cromatograf & iacute;a de gases-espectrometr & iacute;a de masas (GC-MS) del microclima interior de la caja mostr & oacute; la presencia de & aacute;cido f & oacute;rmico, probable causa de la formaci & oacute;n del formiato. Se redujo el formato de cadmio dihidratado tomando precauciones de seguridad y la escultura se volvi & oacute; a colocar en una nueva caja de madera revestida con Marvelseal (R) 360 para limitar la emisi & oacute;n de sustancias vol & aacute;tiles dentro de la caja a lo largo del tiempo. Los resultados de este estudio resaltan d & oacute;nde se puede encontrar formiato de cadmio dihidratado dentro de las colecciones patrimoniales y brindan informaci & oacute;n sobre la pr & aacute;ctica art & iacute;stica de Kienholz. Traducido y revisado por David Cohen y Soledad Tancoff; revisi & oacute;n final por Amparo Rueda e Irene Delaveris.

Although most academic literature associates cotton canvas with twentieth century painting, its earlier use, particularly in South American colonial art, has been occasionally mentioned and remains insufficiently documented. This study aims to identify and examine colonial paintings executed on cotton supports in order to verify their use prior to the nineteenth-century industrialization of artists' materials. Drawing on archival records from the TAREA Foundation and fieldwork conducted in two major Argentine museum collections, the research involved technical fiber analysis. The results confirm the widespread use of cotton supports in paintings from key Andean artistic centers. Contrary to the prevailing view in previous studies of cotton as a sporadically used material, the results indicate that it was regularly employed in the artistic production of the colonial period. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)20(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic) TAREA (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).Translation: Nan Yang; revision: Shaoyi Qian. Bien que la majeure partie de la litt & eacute;rature scientifique associe la toile de coton & agrave; la peinture du XXe si & egrave;cle, son utilisation ant & eacute;rieure, particuli & egrave;rement dans l'art colonial sud-am & eacute;ricain, a & eacute;t & eacute; mentionn & eacute;e occasionnellement mais demeure insuffisamment document & eacute;e. Cette & eacute;tude vise & agrave; identifier et & agrave; examiner des peintures coloniales ex & eacute;cut & eacute;es sur des supports en coton afin de v & eacute;rifier leur usage avant l'industrialisation des mat & eacute;riaux d'artistes au XIXe si & egrave;cle. S'appuyant sur les archives de la Fondation TAREA et sur des recherches de terrain men & eacute;es dans deux grandes collections mus & eacute;ales argentines, cette recherche a impliqu & eacute; une analyse technique des fibres. Les r & eacute;sultats confirment l'usage r & eacute;pandu des supports en coton dans les oe uvres provenant des principaux centres artistiques andins. Contrairement & agrave; l'opinion pr & eacute;dominante dans les & eacute;tudes ant & eacute;rieures, qui consid & eacute;rait le coton comme un mat & eacute;riau d'usage sporadique, les r & eacute;sultats indiquent qu'il & eacute;tait r & eacute;guli & egrave;rement employ & eacute; dans la production artistique de la p & eacute;riode coloniale. Traduit par Lucile Berthelot. Embora a maior parte da literatura acad & ecirc;mica associe a tela de algod & atilde;o & agrave; pintura do s & eacute;culo XX, seu uso anterior, particularmente na arte colonial sul-americana, foi ocasionalmente mencionado e permanece insuficientemente documentado. Este estudo tem como objetivo identificar e examinar pinturas coloniais executadas em suportes de algod & atilde;o para verificar seu uso antes da industrializa & ccedil;& atilde;o dos materiais dos artistas no s & eacute;culo XIX. Com base em registros arquiv & iacute;sticos da Funda & ccedil;& atilde;o TAREA e em trabalhos de campo realizados em duas grandes cole & ccedil;& otilde;es de museus argentinos, a pesquisa envolveu an & aacute;lise t & eacute;cnica de fibras. Os resultados confirmam o uso generalizado de suportes de algod & atilde;o em pinturas de importantes centros art & iacute;sticos andinos. Ao contr & aacute;rio da vis & atilde;o predominante em estudos anteriores sobre o algod & atilde;o como material usado esporadicamente, os resultados indicam que ele foi regularmente empregado na produ & ccedil;& atilde;o art & iacute;stica do per & iacute;odo colonial. Translation: Francisco Vieira; revision: Teresa Lan & ccedil;a Ruivo. La mayor parte de la literatura acad & eacute;mica asocia el lienzo de algod & oacute;n con la pintura del siglo XX; sin embargo, su uso en periodos anteriores, especialmente en el & aacute;mbito del arte colonial sudamericano, ha sido mencionado de manera ocasional y contin & uacute;a insuficientemente documentado. Este estudio tiene como objetivo identificar y examinar pinturas coloniales realizadas sobre soportes de algod & oacute;n con el fin de verificar su empleo con anterioridad a la industrializaci & oacute;n decimon & oacute;nica de los materiales art & iacute;sticos. A partir del an & aacute;lisis de fuentes documentales del archivo de la Fundaci & oacute;n TAREA y del trabajo de campo llevado a cabo en dos importantes colecciones muse & iacute;sticas argentinas, la investigaci & oacute;n incluy & oacute; un an & aacute;lisis t & eacute;cnico de identificaci & oacute;n de fibras. Los resultados confirman el uso generalizado de soportes de algod & oacute;n en pinturas procedentes de destacados centros art & iacute;sticos andinos. Frente a la visi & oacute;n predominante en estudios previos, que consideraban el algod & oacute;n como un material de uso espor & aacute;dico, los resultados indican que fue empleado de manera regular en la producci & oacute;n art & iacute;stica del per & iacute;odo colonial. Traducido por el autor, Daniel Morales-Mart & iacute;n; revisi & oacute;n final Amparo Rueda e Irene Delaveris.

This research evaluates the performance of ethanol-modified phytate-bicarbonate treatments in slowing the iron gall ink-induced degradation of paper, to provide conservators with a better understanding of treatment options for water-sensitive iron gall ink documents. To date, ethanol-modified phytate-bicarbonate protocols have yielded promising results, based on empirical observations; however, questions have arisen about treatment efficacy and precipitate formation in ethanol-modified phytate solutions. The study compares multiple ethanol-modified magnesium phytate-calcium bicarbonate treatments with two ethanol-modified calcium phytate-calcium bicarbonate treatments of model iron gall ink on sized rag paper. Ethanol-modified water washing alone is included for comparison. The relative effect of different treatment parameters, namely percentage of ethanol in solutions, phytate concentration, and pH of magnesium phytate, is assessed by linked visual and chemical analyses, including color of ink and paper, surface deposits, iron(II) testing, micro x-ray fluorescence elemental mapping, pH, and size exclusion chromatography. Results demonstrate that ethanol-modified magnesium or calcium phytate paired with calcium bicarbonate are both viable options for combating iron-induced oxidation and acid hydrolysis of the cellulose in artifacts with water-sensitive iron gall ink, assuming pre-treatment testing does not reveal solubility of the ink in the selected solvents.

This study investigates the historical context and the creation process of the painting Tito and Our Revolution by Vojo Dimitrijevic, housed at the Historical Museum of Bosnia and Herzegovina, through the application of various instrumental examination techniques. The artwork represents an intriguing fusion of socialist themes with contemporary European artistic movements of the era. Additionally, conservation efforts were undertaken to preserve the damaged painting and reintroduce it to public attention. The materials used in the painting were analyzed through a combination of non-invasive (radiography, X-ray fluorescence spectroscopy) and invasive (Fourier- transform infrared spectroscopy, thin-layer chromatography, polarized light microscopy, scanning electron microscopy / energy dispersive spectroscopy) techniques. The analyses revealed an earlier, concealed composition beneath the visible painting, characterized by significantly different color choices and structural arrangement. Furthermore, the study sheds light on the true motivations behind the artwork and clarifies the conflicting narratives surrounding it. Radiography, stratigraphic, and elemental analyses confirmed not only the precise material characterization but allowed to better understand the materials and also the artist's technical awareness and decision-making during his creative work. The findings were used to guide the conservation strategy, but also contributed to the re-evaluation of the painting as a work that transcends propaganda and embodies the personal expression of the artist. 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Cette & eacute;tude s'int & eacute;resse au contexte historique et au processus de cr & eacute;ation du tableau & laquo; Tito et Notre R & eacute;volution & raquo; de Vojo Dimitrijevic, conserv & eacute; au Mus & eacute;e Historique de Bosnie-Herz & eacute;govine, gr & acirc;ce & agrave; l'application de diverses techniques instrumentales d'examen. L'oe uvre repr & eacute;sente une fascinante fusion de th & egrave;mes communistes avec les mouvements artistiques europ & eacute;ens contemporains de l'& eacute;poque. Des interventions de conservation-restauration ont & eacute;galement & eacute;t & eacute; entreprises afin de pr & eacute;server le tableau endommag & eacute; et de le pr & eacute;senter & agrave; nouveau & agrave; l'attention du public. Les mat & eacute;riaux constitutifs de ce tableau ont & eacute;t & eacute; analys & eacute;s gr & acirc;ce & agrave; une combinaison de m & eacute;thodes non invasives (radiographie X, fluorescence des rayons X) et invasives (spectroscopie infrarouge & agrave; transform & eacute;e de Fourier, chromatographie sur couche mince, microscopie polarisante, microscopie & eacute;lectronique & agrave; balayage avec spectroscopie & agrave; dispersion d'& eacute;nergie). Les analyses ont r & eacute;v & eacute;l & eacute; une composition ant & eacute;rieure, cach & eacute;e sous la couche picturale visible, et caract & eacute;ris & eacute;e par des choix color & eacute;s et une composition structurelle notablement diff & eacute;rents. De plus, cette & eacute;tude r & eacute;v & egrave;le les v & eacute;ritables motivations ayant men & eacute; & agrave; la cr & eacute;ation de cette oe uvre, et clarifie les r & eacute;cits contradictoires qui y sont attach & eacute;s. Les analyses stratigraphiques, & eacute;l & eacute;mentaires, et la radiographie ont confirm & eacute; non seulement la caract & eacute;risation mat & eacute;rielle pr & eacute;cise, mais aussi le savoir-faire technique et la prise de d & eacute;cision de l'artiste durant son processus cr & eacute;atif. Les r & eacute;sultats ont permis de guider la strat & eacute;gie de conservation-restauration, mais ont aussi contribu & eacute; & agrave; r & eacute;& eacute;valuer cette peinture comme une pi & egrave;ce transcendant la propagande et incarnant une expression personnelle de l'artiste. Traduit par Claire Cuyaub & egrave;re. Este estudo investiga o contexto hist & oacute;rico e o processo de cria & ccedil;& atilde;o da pintura Tito e Nossa Revolu & ccedil;& atilde;o, de Vojo Dimitrijevic, abrigada no Museu Hist & oacute;rico da B & oacute;snia e Herzegovina, por meio da aplica & ccedil;& atilde;o de diversas t & eacute;cnicas de exame instrumental. A obra representa uma fus & atilde;o intrigante de temas socialistas com movimentos art & iacute;sticos europeus contempor & acirc;neos da & eacute;poca. Al & eacute;m disso, foram realizados esfor & ccedil;os de conserva & ccedil;& atilde;o para preservar a pintura danificada e reintroduzi-la & agrave; aten & ccedil;& atilde;o do p & uacute;blico. Os materiais utilizados na pintura foram analisados atrav & eacute;s de uma combina & ccedil;& atilde;o de t & eacute;cnicas n & atilde;o invasivas (radiografia, fluoresc & ecirc;ncia de raios X) e invasivas (espectroscopia de infravermelho por transformada de Fourier,cromatografia em camada fina, microscopia polarizante, microscopia eletr & oacute;nica de varrimento/ espectroscopia de energia dispersiva). As an & aacute;lises revelaram uma composi & ccedil;& atilde;o anterior e oculta sob a pintura vis & iacute;vel, caracterizada por escolhas de cor e arranjo estrutural significativamente diferentes. Al & eacute;m disso, o estudo traz luz para as verdadeiras motiva & ccedil;& otilde;es por tr & aacute;s da obra e esclarece as narrativas conflitantes que a cercam. Radiografia, estratigr & aacute;fica e an & aacute;lises elementares confirmaram n & atilde;o apenas a caracteriza & ccedil;& atilde;o precisa do material, mas tamb & eacute;m a consci & ecirc;ncia t & eacute;cnica e a tomada de decis & otilde;es do artista durante seu trabalho criativo. As descobertas foram usadas para orientar a estrat & eacute;gia de conserva & ccedil;& atilde;o, mas tamb & eacute;m contribu & iacute;ram para a reavalia & ccedil;& atilde;o da pintura como uma obra que transcende a propaganda e incorpora a express & atilde;o pessoal do artista. Translation: Francisco Vieira; review: Teresa Lan & ccedil;a. Este estudio investiga el contexto hist & oacute;rico y el proceso de creaci & oacute;n de la pintura Tito y nuestra revoluci & oacute;n de Vojo Dimitrijevic, albergado en Museo Hist & oacute;rico de Bosnia y Herzegovina, realizado mediante el uso de varias t & eacute;cnicas de an & aacute;lisis/exploraci & oacute;n instrumental. La obra de arte representa una fusi & oacute;n intrigante de temas socialistas con movimientos art & iacute;sticos europeos de la era. Adicionalmente, esfuerzos de conservaci & oacute;n se llevaron a cabo para preservar la pintura da & ntilde;ada y reintroducirla para la atenci & oacute;n p & uacute;blica. Los materiales utilizados en la pintura fueron analizados mediante una combinaci & oacute;n de t & eacute;cnicas no-invasivas (radiograf & iacute;a, fluorescencia de rayos X) e invasivas (espectroscop & iacute;a infrarroja por transformada de Fourier, cromatograf & iacute;a en capa fina, microscop & iacute;a polarizante, microscop & iacute;a electr & oacute;nica de barrido / espectroscopia de dispersi & oacute;n de energ & iacute;a). Los an & aacute;lisis revelaron una composici & oacute;n anterior oculta debajo de la pintura visible, caracterizada por elecci & oacute;n de colores y disposici & oacute;n estructural significativamente diferentes. Adem & aacute;s, el estudio arroja luz sobre las verdaderas motivaciones detr & aacute;s de la obra de arte y aclara las narrativas contradictorias que la rodea. Radiograf & iacute;a, estratigraf & iacute;a y an & aacute;lisis elemental confirm & oacute; no solo la caracterizaci & oacute;n precisa de los materiales, pero tambi & eacute;n la conciencia t & eacute;cnica y toma de decisiones del artista durante su trabajo creativo. Estos resultados fueron utilizados para guiar la estrategia de conservaci & oacute;n, pero tambi & eacute;n contribuy & oacute; a la reevaluaci & oacute;n de la pintura como obra que trascendi & oacute; propaganda y encarna la expresi & oacute;n personal del artista. Traducci & oacute;n Irene Delaveris; revisi & oacute;n: Amparo Rueda.