Innovation in art research and technology

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ORGANISATION COMMITEE
Ludovic BELLOT-GURLET, MONARIS, Sorbonne Université / CNRS Delphine NEFF, LAPA, IRAMAT/NIMBE, CEA / CNRS Anne-Solenn LE HÔ, C2RMF, Ministère de la Culture, IRCP, PSL / CNRS Céline PARIS, MONARIS, Sorbonne Université / CNRS Laurianne ROBINET, CRC, MNHN / CNRS / Ministère de la Culture Aurélie TOURNIÉ, CRC, MNHN / CNRS / Ministère de la Culture SCIENTIFIC COMMITTEE
Danilo BERSANI, Department of Mathematical, Physical and Computer Sciences, University of Parma, Parma, Italy António CANDEIAS, Department of Chemistry, Universidade de Evora, Evora, Portugal Maria Perla COLOMBINI, Department of Chemistry and Industrial Chemistry, University of Pisa, Pisa, Italy Kenza DUFOURMANTELLE, The Canadian Conservation Institute, Ottawa, Canada Terje GRØNTOFT, Urban Environment and Industry Department, Norwegian Institute for Air Research, Oslo, Norway Katarina KREISLOVA, National Research Institute for Materials Protection - SVUOM, Prague, Czech Republic Federica POZZI, Center for Conservation and Restoration of Cultural Heritage "La Venaria Reale", Italy Manfred SCHREINER, Institute of Science and Technology in Art, Academy of Fine Arts, Vienna, Austria Marcela SEPULVEDA, Pontificia Universidad Católica, Chile, and UMR8220 LAMS / UMR8096 ArchAm, France Su-Fen YEN, Department of Registration and Conservation, National Palace Museum, Taiwan Peter VANDENABEELE, Department of Archaeology, Ghent University, Ghent, Belgium SUPPORT
Ministère de la Culture DIM Matériaux anciens et patrimoniaux – Région Ile de France OPUS Observatoire des patrimoinesde l’Alliance Sorbonne Université Graduate School « Humanités et Sciences du Patrimoine », Université Paris Saclay Labex MiChem Sorbonne Université Fondation des Sciences du Patrimoine Centre de Recherche et de Restauration des Musées de France ACKNOWLEDGMENTS
The organizing committee has much to be thankful for their support to their authorities (Sorbonne univ, MNHN, Ministère Culture-DG2TDC and DGPatA and CEA), their institutions (MONARIS, CRC, C2RMF, LAPA), and all their colleagues to work collectively and with enthusiasm to prepare a successful and safe inArt 2022 conference. We also thank you the Scientific Committee for the constructive recommandations all over these long months.
Welcome introduction
The inArt 2020 conference should have taken place in April 2020 in Paris and be the 4th International Conference on Innovation in Art Research and Technology and about 200 participants were registered. The event could not be held due to the sanitary situation. However, the special issue was maintained in the EPJ+ “focus point on Scientific Research in Cultural Heritage” and 25 papers were published in this issue making this conference in any case a successful scientific event. Previously inArt conferences took place in Evora - Portugal in 2013, in Ghent - Belgium in 2016 and in Parma - Italy in 2018. The 2022 year is a new step in the InArt conferences, and the 5th InArt (inArt 2022) takes place in Paris from Tuesday 28 June to Friday 1st July 2022 and marks the return to a friendly face- to-face conference.
The conference inArt 2022 aims to gather professionals from all the disciplines concerned by the study and the preservation of cultural heritage materials: chemists, physicists, geologists, biologists, conservation scientists, conservators, historians, archaeologists, etc. Ancient materials require interdisciplinary approaches and the development of specific analytical methodologies due to their complexity and heterogeneity, the need for non-invasive analyses and limited sampling, or to simulate alteration processes. The conference wish to stimulate discussions between the participants around three main topics related to the scientific analysis of ancient artefacts: knowledge of the manufacturing techniques and materials; understanding of their degradation processes and the use of innovative conservation strategies; and the development of new methodologies and data treatments for their study.
The topics to be addressed within the conference sessions can be related to the following 3 main thematic sessions with various sub-themes (amongst others):
Comprehension of materials and techniques involved in Cultural Heritage ; Identification approaches, circulation of materials and manufacturing techniques, dating and chronological approaches
Degradation mechanisms and conservation strategies ; Characterisation of degradation products, impact of the environment on the degradation or protection of the objects, experimental aging simulation and modelling, diagnosis of conservation states, documentation of objects (including numerical approaches), cleaning, stabilisation and protection
Technological developments and data analysis ; In situ experiments and mobile instrumentation, imaging techniques, coupling of analytical methods and data fusion
Our heartfelt thanks to all the authors who submitted abstracts for the conference. With more than 220 submitted abstracts, this conference promises to be particularly stimulating and promising and to produce a new rich special issue depicting the scientific advances in cultural heritage.
The organising comittee
VENUE
The conference will be held in the Campus Pierre et Marie Curie of Sorbonne University, 4 Place Jussieu, 75005 Paris (France) in the auditorium of the campus international conference centre.
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Campus entrance 4 Place Jussieu
Subway station Jussieu (M7/10)
VISITS
The afternoon of Thursday 30 June will be devoted to the visits of parisian heritage institutions and laboratories, organized specifically for conference participants. All the groups will leave the conference site at 2 pm and will be accompanied by a guide. List of the visits proposed (on registration via the conference website):
Centre de Recherche et de Restauration des Musées de France (C2RMF) / National Centre for Research and Restoration in French Museums 14 quai François Mitterrand 75001 Paris ;
Centre de Recherche sur la Conservation (CRC) / Research Center for Preservation, 36 rue Geoffroy-Saint-Hilaire 75005 Paris, Museum National d’Histoire Naturel MNHN site
Musée de l’Homme / Museum of Humankind 17 place du Trocadéro 75016 Paris
Galerie de Minéralogie et Géologie / Geology and Mineralogy Gallery, MNHN, 36 rue Geoffroy-Saint-Hilaire 75005 Paris, MNHN site
Grande Galerie de l’Evolution / Gallery of Evolution, 36 rue Geoffroy-Saint-Hilaire 75005 Paris, MNHN site
Musée du quai Branly-Jacques Chirac
37 quai Branly, 75007 Paris
Institut National du Patrimoine, Département des restaurateurs, 124 rue Henri Barbusse 93300 Aubervilliers
Collection des Minéraux de Sorbonne Université, Mineralogy Collection 4 place Jussieu 75005 Paris
Walking tour: Historical centre of Paris, Le Marais district
Walking tour: 19th century Haussmannian Paris centre, Opéra district
Walking tour: Paris Street art at the Buttes aux Cailles, XIIIe district
CONFERENCE DINER The conference dinner will be organised in the hotel The Westin Paris - Vendôme in the centre of Paris facing the Tuileries Gardens, the restaurant invites you to taste an authentic and inventive cuisine, in an elegant setting.
The Westin Paris – Vendôme
Nearest metro stations : line 1: Concorde station or
Tuileries station
We will be pleased to welcome you at 7 pm for a cocktail followed by dinner at 8 pm.
Cocktail reception
Diner reception
CONFERENCE PROGRAM
9 h 15 Opening
9 h 30 KN1 - Analysis for understanding heritage and its degradation: insights from wall paintings, easel paintings and archeological materials - Nevin Austin
10 h O1 - Time-resolved hyperspectral imaging for the mapping of weakly luminescent pigments in paintings - Comelli Daniela
10 h 25 O2 - Non-destructive exploration of Late Gothic panel painting using dual-energy X-ray microtomography - Vavík Daniel
10 h 50 O3 - The contribution of archaeometry in characterization of decorative materials from the site of Villa di Teodorico in Galeata (Italy) – Saviane Luciana
11 h 15 Coffee/Tea break
11 h 45 O4 - The Dagulf Psalter: an interdisciplinary approach to study inks, dyes and pigments of this early Carolingian manuscript - Jembrih- Simbürgerr Dubravka
12 h 10 O5 - Micro- and sub-µ X-ray CT scanning of Congolese heritage objects for wood identification and conservation - Genbrugge Siska
12 h 35 O6 -Arena scriptoria from the Portuguese Inquisition documents - occurrence, properties and chemical aspects of this writing tool - Nunes Margarida
13 h Lunch
14 h POSTER SESSION 1
15 h O7 - Reconstitution of historical recipes: understanding the influence of oil treatment on the properties of artistic oil paint - Laporte Lucie
15 h 25 O8 - SuPerStAr - Sustainable Preservation Strategies for Street Art: an Italian research project for the knowledge and the safeguard of public art in urban contexts - Modugno Francesca
15 h 50 O9 - Chasing an Alligator: an integrated approach for the study of severe paint defects in a 19th century oil painting - Marques Raquel
16 h 15 Coffee/Tea break
16 h 45 P110 – Displaying Russian space suits based on conservation research at the Deutsches Museum – Holzer Charlotte
17 h 10 O11 - Asbestos cement panel paintings - Degradation issues - Pheulpin Elise
17h 35 O12 - Metal soaps formation in painted miniatures: non-invasive evidence and experimental study - Garrappa Silvia
18 h O13 - Evidence of metal soaps in commercial paints containing ferrous pigments: yellow ocher - Costa Thiago
18 h 25 End
Wednesday 29th June
9 h KN2 – Archaeometallurgy or iron. Some tentative global approches - Dillmann Philippe
9 h 30 O14 - Understanding the manufacturing techniques of Renaissance amour: a coupling between metallographic and SR-XRD investigations - Bérard Emilie
9 h 55 O15 - Trace element analysis of silver coins from XVI -XVII centuries and fire-gilding thickness of a Romanesque crucifix by X-Ray spectroscopy - Gillon Alexandre
10 h 20 O16 - The work of gold at Abydos in the Middle Kingdom: analysis of gold jewellery and leaf - Guerra Maria Filomena
10 h 45 Coffee/Tea break
11 h 15 O17 - The use of in-situ Fourier Transform hyperspectral imaging in the infrared to characterise artist's materials and paintings - Sherwood Alice
11 h 40 O18 - A multi-technical study of Native North American objects dating from the 17th to 19th centuries - Daher Céline
12 h 05 O19 - A multi-technique study of historical natural dyes - De Ferri Lavinia
12 h 30 O20 - New insights into the chemistry of Justicia spicigera dyestuff from Central America - Arberet Lucie
12 h 55 Lunch
14 h POSTER SESSION 2
15 h O21 - Vibrations and cultural heritage preservation: a new approach to protect objects Forma Loïc
15 h 25 O22 - Violin varnish technology developments of the 18th century: Radical conversion from classical oil resin mixtures to shellac-based spiritus varnishes - Zumbühl Stefan
15 h 50 O23 - Investigating the effect of oil binders on the paper supports: modeling deterioration via FTIR and VOC analysis using GC-MS - Banou Penelope
16h15 Coffee/Tea break
16 h 45 O24 - Macro-Raman-mapping: a novel tool to study the pigment distribution of art Vandenabeele Peter
17 h 10 O25 - Data fusion of Py-GC-MS and FT-IR data for the evaluation of degradation patterns in modern paints due to ozone and humidity exposure - Pagnin Laura
17h35 O26 - Studying "Justice" a scientific approach to Violeta Parra´s studio practice - Godoy Valeria
18 h O27 - Tel père, tels fils: a technical study of seven paintings by Camille, Lucien, and Georges Manzana Pissarro - Chipkin Alexandra
18 h 25 End
Thursday 30th June 9 h KN3 - Life in a large national museum: scientific research at the
Victoria and Albert Museum - Burgio Lucia
9 h 30 O28 - The use of madder lake in the production of the "Fayum" portraits - Brunel-Duverger Lucile
9 h 55 P109 - Painted metals of industrial heritage: characterization and conservation – Gordon Julie
10 h 20 O30 - Funerary inscriptions in the Siracusa catacombs: white marbles, decorative stones and painted plaster - Coccato Alessia
10 h 45 Coffee/Tea break
11 h 15 O31 - Corrosion protection of copper statuary by carboxylates- doped sol-gel coatings Lob Silvia
11 h 40 O32 - MiCorr, a transdisciplinary tool for the documentation and the diagnosis of corrosion forms on heritage metal artefacts: building bridges between conservation professionals and material scientists - Gutknecht Naima
12 h 05 O33 - Studying ancient glass to bring to light new insights into the mechanism of glass corrosion - Zanini Roberta
12 h 30 O34 - Application of Hyperspectral Imaging for characterizing VOC- induced historical glass corrosion - Sharma Deepshikha
12 h 55 Lunch
19 h – 23 h 30 CONFERENCE DINNER
Friday 1st July 9 h KN4 - Conservation Science: a Human-Centered Approach -
Dufourmantelle Kenza 9 h 30 O35 - The right material for the right application - characterization
of the physico-mechanical properties of animal glues in different environments - Bridarolli Alexandra
9 h 55 O36 - Better preserving the archives of Nature for the future: effectiveness of historical and modern sealants in fluid collections - Zuber Baptiste
10 h 20 O37 - Gecko-inspired dry adhesives - a case study in testing methodology - Olender Jacek
10 h 45 Coffee/Tea break
11 h 15 O38 - s-SNOM characterisation of carboxylates growth in a time- depending model Stani Chiaramaria
11 h 40 O39 - New nano-Mg(OH)2 modified siloxane coating for the preservation of gypsum and gypsum-based plasters artifacts - Bergamonti Laura
12 h 05 O40 - Treating a missing part on cast plaster artefacts: a multidisciplinary methodology adapted to the characterization of filling materials - Robin Dupire Juliette
12 h 30 O41 - Influence of physicochemical properties of different limestone on microbial colonization and on biodeterioration - Reboah Paloma
13 h Lunch
15 h O42 - Transmission Kikuchi Diffraction, a powerful imaging technique for nanoscale structural characterisation of cultural heritage materials - Holé Clément
15 h 25 O43 - Combining LE-XRF and SR-FTIR microscopy for residue analysis of lithic artefacts - Dominici Clarissa
15 h 50 O44 - A mobile instrument for joint X-ray fluorescence and diffraction measurements on complex-shape Cultural Heritage objects - Poline Victor
16 h 15 Coffee/Tea break
16 h 45 O45 - Identification and manufacturing technology of a Late Bronze Age IA shellfish purple pigment from Ialysos, Rhodes - Facorellis Yorgos
17 h 10 O46 - Impact of pH conditions in the SERS analysis of synthetic colorants: case study of monoazo dyes - Cañamares Arribas María Vega
17h35 O47 - Identification of plant fibers from Central Africa used for the creation of textiles and the creation of a reference database in framework of the CAPTex project - De Paepe Anoek
18 h Closing Remarks
Analysis for understanding heritage and its degradation: insights from wall paintings, easel paintings and
archeological materials
Austin Nevin
Department of Conservation, Courtauld Institute of Art, London, UK
Binding media, metals and pigments in works of art are material history - and are evidence of technology, artist practise, exchange and trade. Through the study and identification of materials, crucial data can be collected regarding physical and chemical stability providing critical information for conservation decisions. Today we have a plethora of analytical methods available to study works of art – some are portable for in situ, and others require sampling. In this talk I will highlight how we can employ analytical methods synergistically to understand the origin and behaviour of materials [1]. Case studies of works of art and archaeological materials will draw on research using portable instrumentation and cutting-edge analytical methods ranging from the study of ancient polychromy to 20th C. paintings. Investigations on wall painting fragments from the ancient Canannite capital Tel Kabri allowed the identification of degraded binding media from the Aegean style wall paintings that date to the 18th C. B.C.E. The discovery of traces of organic media in the characteristic blue paint is significant for the conservation and treatment of the paintings, for understanding of the sophistication of painting practise and the use of egg-based binding media in the Eastern Mediterranean, and more broadly also questions the presence of domestic animals in the region [2]. A second case study focuses on Tutenkhamun’s dagger that was analyzed using portable instrumentation at the Egyptian Museum in Cairo. New data established conclusively that the well- conserved ornamental blade was fashioned from finely worked meteoritic iron. The identification was possible though the comparison of data acquired from the dagger with known meteor samples, and the calculation of ratios of Nickel and Cobalt [3]. Pigments are the focus of the third case study. Analysis demonstrates how deep crimson pigments from European insects were adopted by Leonardo in the Last Supper, and how, by contrast, Veronese adopted newly introduced Mexican pigments from cochineal insects [4]. The molecular characterization of cross-sections demonstrates the use of similar kermes-based lakes in paintings by Leonardo and Masolino, and carmine-based reds in paintings by Tintoretto and Veronese, while also revealing soluble uncomplexed dyes in samples that has direct implications for conservation, cleaning and lighting. Further examples of the study of pigments include work on cadmium yellows and their degradation [5]. Research will ultimately demonstrate the benefits of synergistic collaborative studies across disciplines. [1] Y. Song et al, Heritage 2021, 4(4), 2599-2622; doi.org/10.3390/heritage4040147 [2] R. Linn, et al, Angew. Chem. Int. Ed. 2018, 57, 13257. doi.org/10.1002/anie.201806520 [3] I. Osticioli, et al, Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy, 2019, doi.org/10.1016/j.saa.2019.117273. [4] D. Comelli, et al, Meteoritics and Planetary Science, 2016, doi.org/10.1111/maps.12664 [5] A. Jambon, Journal of Archaeological Science, 2019, doi.org/10.1016/j.jas.2017.09.008 [6] D. Comelli, et al, Analytical Chemistry 2019 91 (5), 3421-3428, doi.org/10.1021/acs.analchem.8b04914
O1
Marta Ghirardello1, Alessia Candeo1, Benedetto Ardini1, Gianluca Valentini1, Cristian Manzoni2, Thomas
Calligaro3, Laurent Pichon3, Xueshi Bai3, and Daniela Comelli1
1 Department of Physics, Politecnico di Milano, Milano, Italy 2 CNR-IFN, Milan, Italy 3 Centre de recherche et de restauration des musées de France, C2RMF, Palais du Louvre, Paris, France
The identification of the materials used in artworks is fundamental for the understanding of the artistic techniques, for dating purposes and for identifying retouching and restoration procedures. In the last decades the demand of non-invasive and non-destructive techniques for the complete characterization of artistic materials has been clearly assessed, motivating the development of new instrumentations and the definition of non-invasive analysis protocols. In this context, photoluminescence measurements are effective tools for the identification and mapping of luminescent materials through their characteristic emissions [1-2], supporting the classification obtained with other elemental and molecular analyses in a completely non-invasive way. Indeed, many materials commonly found in historical paintings are luminescent: these include organic pigments, few inorganic pigments, binders, waxes and finishing varnishes [3]. All these materials exhibit emissions characterised by different intensities, spectral and lifetime properties. However, when using continuous excitation and detection schemes, only the most intensely emitting materials can be clearly detected (typically protective paints and organic binders). Instead, other strategies are required to detect the superimposed emission of weakly emitting materials. Within this framework we propose the use of time-resolved imaging methods to detect and identify low-emitting materials in paintings. The novel approach involves the sequential use of a lifetime imaging camera and a time-gated hyperspectral camera. First, lifetime imaging is performed at different timescales – nanosecond, microsecond, and millisecond timescales – to identify the order of magnitude of the lifetimes of the emitters present in the analysed painted surface. In a second step, time-gated hyperspectral imaging is used to reconstruct the time-gated emission spectrum of the emitting materials in proper temporal windows [4]. Illustrative examples of the proposed approach will be presented, including laboratory model paint samples and modern and Renaissance paintings from the C2RMF collection in Paris. Therein, we will demonstrate how the time-resolved imaging approach is highly effective for the identification and mapping of faint fluorescent species in artworks. In particular, for the first time we will show the clear detection of the faint emission from lead white paints in paintings, thanks to the detection of its long- living emission (characterized by a lifetime of hundreds of microsecond) despite the presence of other strongly fluorescent materials, such as varnish and binders. [1] Nevin, A. et al. Time-Resolved Photoluminescence Spectroscopy and Imaging: New Approaches to the Analysis of Cultural Heritage and Its Degradation. Sensors 14, 6338–6355 (2014).[2] Dooley, K. A. et al. Molecular Fluorescence Imaging Spectroscopy for Mapping Low Concentrations of Red Lake Pigments: Van Gogh’s Painting The Olive Orchard. Angew. Chemie - Int. Ed. 59, 6046–6053 (2020). [3] Nevin, A. et al, Laser spectroscopies for elemental and molecular analysis in art and archaeology. Applied…