1

2







2
nd
International Meeting on Retouching
of Cultural Heritage
RECH2
Porto, Portugal | 24-25 October 2014


















3





Organizing committee
Ana Bailo (Escola Artstica e Profissional rvore; Universidade Catlica
Portuguesa/ CITAR, Portugal)
Frederico Henriques (Escola Artstica e Profissional rvore; Universidade Catlica
Portuguesa/ CITAR, Portugal);
Ana Bidarra (Cinbrio, Conservao e Restauro; GeoBioTec Research Centre,
Universidade de Aveiro, Portugal)



Scientific Committee
Ana Calvo (Universidad Complutense de Madrid, Spain; Universidade Catlica
Portuguesa/ CITAR, Portugal)
Jos Manuel de la Roja (Universidad Complutense de Madrid, Spain)
Silvia Garca Fernndez-Villa (Universidad Complutense de Madrid, Spain)
Sandra Sstic (Croatian Conservation Institute, Croatia)



Hosted by Escola Artstica e Profissional rvore
Held at Casa das Artes
2014




4





Oral Presentation



5
In search of uniformity in the museological context
A proposal for the chromatic reintegration of a set of Phoenician
archaeological ceramics

Alice Nogueira ALVES
1
, Marta FRADE
1*
, Lus Jorge GONALVES
1
,
Manuel CALADO
1
1
Faculdade De Belas-Artes da Universidade de Lisboa
* alicenalves@gmail.com; martacostafrade@gmail.com

Abstract

The lack of uniform criteria in the interventions made on archaeological
ceramics often results in expository combinations of pieces with similar
backgrounds but different visual readings. Between the simple collage of
fragments, the filling of gaps, and the finishing procedures, such as chromatic
reintegration, we can find many different solutions within the same exhibitor.
The choice of criteria for intervention is usually the responsibility of those who
perform it, often isolated from the rest of the museum staff. This lack of
interdisciplinary work simply harms the public, preventing a good reading of
the whole set and becoming particularly harmful if we consider this public to
be the main reason why the entire process is developed. From the viewpoint
of archaeologists, the exhibition of a piece must present the full restoration of
its form, providing the public with information closer to reality and to its use in
everyday life. With the aim of establishing a standard criterion for a set of
pieces, we propose a particular kind of chromatic reintegration. After filling
the gaps and recovering the form, we opted to perform a chromatic
reintegration of the filling masses. In the particular case of the set of
Phoenician ceramics under review, the variety of colors of the fragments
within the same piece, due to its context and location of burial in a sanctuary,
and the specific rituals associated, prevented the choice of a stained tone,
usually adopted. This solution would run the danger of turning the ceramics
into a strange mass without any reading or understanding and, especially,
without highlighting the original elements. Since we considered that the mass
used did not harmonize with the set, disrupting its reading due to the visual
impact that overlapped the original, we opted for an underlying tone, using
a standard filling process, perfectly integrated in our vision of the whole set,
and, mainly, allowing its enjoyment. The choice of such solutions pleases all
parties, respecting the essential ethical criteria of respect for the original, so
important in conservation and restoration, and making an important link with
the community that will benefit from these pieces as well, by facilitating their
understanding, taking into account the educational goals aimed by
Archaeology and Museology.


Keywords: Ceramics, Conservation, Restoration, Archaeology, Museology,
chromatic reintegration

6
Reintegration, integration, inpainting, retouching?
Questions around terminology

Ana CALVO
1, 2*
, Ana BAILAO
2
1
Universidad Complutense de Madrid,
Calle El Greco 2, Madrid

* ancalvo@art.ucm.es

2
CITAR, Escola das Artes, Universidade
Catlica Portuguesa, Rua Diogo Botelho
1327, Porto



Abstract

Different terms are used in the several countries and specialized publications
to define the chromatic or volumetric intervention to complete an object.
Specially in painting conservation we can find applied to this phase:
restoration, reintegration, integration, retouching, inpainting, among others.
We have tried to know the different meanings applied to these terms, and to
look at some bibliographic reference sources in order to understand which
of the terms are the most used. The terminological question is not just a simple
matter of words, but also a question about the different criteria applied over
time to this intervention.

Keywords: terminology, painting, reintegration, integration, inpainting,
retouching.
References

Bailao, A. 2013. Terminologia associada conservaao e restauro de pintura. Conservar
Patrimnio 18 (2013) 55-62.
Brown, A. J. E. (ed.) 2007. The Postprints of the Image Re- integration Conference,
England, Northumbria University Press.
Calvo, A. C. 1997 Conservacin y Restauracin. Materiales, Tcnicas y Procedimientos.
De la A a la Z. Barcelona. Ediciones del Serbal.
Conservation of Cultural Property Main General Terms and Definitions. 2011. European
standard UNI EN 15898. Brussels, Comit Europen de Normalisation.
Ellison, R.; Smithen, P.; Turnbull, R. (ed.) 2010. Mixing and Matching. Approaches to
Retouching Paintings. London. Archetype.
Philippot, A.; Philippot, P. 1959. Le probleme de l'integration des lacunes dans la
restauration peintures, Bulletin de l Institut Royal du Patrimoine Artistique 2 (1959) 5-19.
Philippot, P. 1996. The fragmented object; lacunae and their integration; archaeology
and museum objects. In Historical and Philosophical Issues in the Conservation of Cultural
Heritage, ed. N. S. Price, M. K. Talley, A. Melucco Vaccaro. Los Angeles. Getty
Conservation Institute, 358-363.
Signorini, E. 2011. Fasi finali o nuova tappa del restauro? In V Congresso Internazionale
Colore e Conservazione Le Fasi Finali Nel Restauro Delle Opere Policrome Mobili,
Saonara. Cesmar7. 9-15.


7

Material and Methods for self production of retouching colors
Roberto BESTETTI
1*
,

Ilaria SACCANI
1

1
CESMAR7-Centro per lo Studio dei Materiali per il Restauro, Via Mentana 5, 37128
Verona, Italy

* conservazioneres@tiscali.it
Abstract

The introduction in Italy (Borgioli; Camaiti, 2004) of more stable varnishing
(Cremonesi, 2004) products has brought a reflection on retouching materials.
A comparative study presented during Melbourne IIC Conference (De la Rie;
McGlinchey, 1990) showed the main issues connected with traditional
retouching colors and binding media. Starting from these considerations, in
the 2012 CESMAR7- Research Centre for Conservation Materials- first
introduced a workshop on self-production of retouching colors. This course
has been presented in several italian cities (Milan, Padua, Naples, Florence)
and more recently also in Denmark (Copenaghen- June 2014)(Leonard;
Whitten; Proctor; De la Rie, 2000) . During the workshop, conservators learn
how to prepare a retouching color palette, controlling the materials quality
and understanding the way they could engeneer the products starting from
their needs. Pigments are mixed with highly stable binders such as Laropal A-
81(urea-aledhyde resin), Paraloid B-72, Gum Arabic and Aquazol (De la Rie;
Lomax; Palmer; Glinsman; Maines, 2000).
Pigments choice is based on ASTM lightfastness; for this reason, unstable
materials (present in some commercial retouching colors) were excluded.
Unstable historical pigments and lake has been substituted with more stable
modern organic pigments. Chromatic range includes mica pigments for
gilded surfaces, organic pigments for modern art and a wide range of earth
and mineral pigments.
At the moment the pigment chosen are under analysis through RAMAN
spectroscopy (degree thesis- Universit degli Studi CARLO BO di Urbino)
(Bestetti; Colombo; De Luca; Selva Bonino; Ubaldi, 2014).
The present paper aims to illustrate recipes and methods for preparation of
conservation colors from raw materials and the future research path.

Keywords: retouching color, self-production, Laropal A81, Aquazol, pigments,
Cesmar7,
References

Borgioli L.& Camaiti M. 2004 Stabilizzazione di polimeri per la verniciatura di dipinti.
CESMAR 7 Congress Color and conservation. Thiene.
Cremonesi P.2004 Le vernici finali per i dipinti, Progetto Restauro (32).
De la Rie E.R.& McGlinchey C.W.1990, New synthetic resins for picture varnishes, in
Cleaning, retouching and coatings, Ed. Mills & Smith, Londra pp.168-173.

8
Leonard, M. & Whitten, J. & Proctor & R. De la Rie, R. 2000 Development of a New
materials for retouching, IIC Melbourne congress.
De la Rie, R. & Quillen Lomax, S. & Palmer, M. & Deming Glinsman, L. & Maines. 2000. An
investigation of the photochemical stability of Urea-aldehyde resin retouchin paints. IIC
Melbourne congress.
Bestetti, R. & Colombo, A. & De Luca, D. & Selva Bonino, E.V. & Ubaldi, V. Use of Aquazol
for retouching color in Italy, Poster at: Aquazol Esperienze e applicazioni nel panorama
italiano, Venaria reale,




9
The Conservation Treatment of Rijksmuseum Limoges Enamels
The Same Approach, Three Different Treatments
Ellen VAN BORK,
1*
Tamar DAVIDOWITZ
1
, Sara CREANGE
2
and Joosje VAN
BENNEKOM
2

1
University of Amsterdam
2
Rijksmuseum
Hobbemastraat 22 Hobbemastraat 22
1071 ZC Amsterdam 1071 ZC Amsterdam
The Netherlands The Netherlands

* E.K.vanbork@uva.nl

Abstract

In April 2013 the Rijksmuseum re-opened its doors after an extensive 10-year
renovation. One showcase is dedicated to Limoges enamels. With this
technique several layers of enamel are applied in succession on a copper
base, forming a layered image with varying transparency. Despite being
under the care of the same curator and conservators and being
approached in the same way, the final treatment for each piece varied
greatly. This illustrates the need for good communication between the
conservators and curators, and the importance of treating each object on a
case-by-case basis.
Three of the Limoges enamels will be highlighted to illustrate this point. One
plaque was treated extensively (Lonard Limosin, ca. 1550), removed from
the frame, and entirely filled and retouched. Another plaque (Pierre Courteys
I, before 1591) was minimally treated where the lost enamel had previously
been filled, retouched, and subsequently finished with a yellowed varnish. In
this case it was decided to leave the aged repairs in situ and to remove only
the varnish, as the aged repairs were not found to be sufficiently distracting
from the readability of the piece. The last case study is that of a ewer (Pierre
Raymond, ca. 1550) with severely damaged enamel around the ears and
foot. These areas had been extensively repaired in the past, with some fills in
reasonably good condition and other that had completely failed. In this
case, it was decided to replace and retouch the failed fills and to keep those
in good condition in place.

Keywords: Limoges enamels, fills, retouching, treatment approach



10

Recreating Patina: The Retouching of Rodins The Thinker

Tamar DAVIDOWITZ
1
*, Tonny BEENTJES, Rozemarijn VAN DER MOLEN

1
University of Amsterdam
Hobbemastraat 22
1071 ZC Amsterdam
The Netherlands

* t.davidowitz
@uva.nl

Abstract

The retouching of cast bronze sculpture presents a great variety of
challenges. The passive corrosion on the surface, or patina, is often made up
of many layers, and can manifest itself in different textures, hues, opacities
and gloss. In January of 2007, The Thinker by August Rodin was stolen from the
garden of the Singer Museum in Laren, The Netherlands. The thieves, who
intended to melt it down for its material value, attempted to render it
unrecognizable and cut it into pieces for smelting using an angle grinder. The
sculpture suffered considerable injury, including saw-marks, plastic
deformation of the metal, and surface damage. The sculpture was
subsequently treated by conservators at the University of Amsterdam, using
the original plaster model as a reference and innovative 3D scanning and
printing techniques. Using these methods, it was possible to re-cast and re-
apply the missing parts in their original form. While the larger elements were
cast in bronze, the finer fills were cast using a mixture of epoxy and bronze
powder. This proved essential in the retouching process, as it allowed for a
polished substrate very similar to the surrounding bronze. Perhaps the greatest
variety was in the tools used to apply the retouching paints, in an effort to
replicate the myriad of textures and layers found on the sculpture. Ultimately,
these methods and the treatment of the sculpture as a whole proved very
successful and The Thinker is now back on display.
Keywords: Rodin, Thinker, patina, sculpture, 3D scanning, retouching.



11
Retouching a monumental terracotta sculpture.
Meeting the viewers needs.

Cludia FALCO
1*
, Ricardo TRIES
1**
, Snia TAVARES
2***
, Joo RAMOS
2****


1
Instituto Politcnico de Tomar, Quinta
do Contador Estrada da Serra,
2300-313 Tomar

* cfalcao@ipt.pt
** rtriaes@ipt.pt
2
Mosteiro de Alcobaa,
2460-018 Alcobaa


*** sonia.tavares.cr@gmail.com
**** jramos_cr@hotmail.com



Abstract

The Monastery of Alcobaa, classified by UNESCO as World Heritage since
1989, holds a wide and valuable collection of monumental terracotta
sculptures from the 17th century. Most of the sculptures had estofado
decoration originally. Some of them were totally repainted in the past - a
thick white overpainting was applied while they were still in the original
altarpiece. This set of sculptures offered different challenges, both at
structural and aesthetic levels, and the complexity and heterogeneity of the
surface demanded serious reflexion. The intervention implied the complete
removal of the white overpainting layer, which exposed considerable
extensions of the original white ground layer and, in some cases, the
terracotta itself. This created a very disturbing effect to a common viewer.
The contrast between the white ground layer and the other colours, including
the orange terracotta areas, had considerable visual weight, constituting a
major interference; plus, it created a certain ambiguity, which generated
confusion to the general public.
Considering the needs of a visitor, enabling the visual interpretation of the
piece after the removal of the overpainting was mandatory but had
restrictions, especially due to major polychromy loss. The solution was keeping
the intervention to a minimum, by approximating the white ground layer to
the terracotta tone, through colour retouching. A transparency obtained
with water based acrylic paint was applied exclusively over the ground layer,
previously protected with an acrylic film. The results were very satisfying. The
original sculpting work and even the few remains of the original polychromy
were definitely enhanced.

Keywords: monumental sculpture, polychrome terracotta sculpture,
retouching techniques, acrylic paints


12

References
Chapuis, Julien. 2000. Late Medieval German Sculpture: Polychromy and Monochromy.
In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. [online]
(October 2002) [Accessed March 2014]. Available at:
http://www.metmuseum.org/toah/hd/grmn_3/hd_grmn_3.htm.
Coroado, J., Tries, R., Gil, C., Ferraz, E. & Rocha, F. 2013. Estudos para a conservao
das esculturas monumentais em terracota do Mosteiro de Alcobaa: Projecto Tacelo. In
Jos Albuquerque Carreiras (ed.) Mosteiros Cistercienses. Histria, arte, espiritualidade e
patrimnio (Separata): Tomo 1. Alcobaa: Jorlis. p 105-118
Muoz-Vias, S. 2005. Contemporary Theory of Conservation. Oxford: Elsevier
Butterworth-Heinemann.
Ramos, R. G. 1995. Examen material de la obra de arte. La correspondencia de
policromias. In Boletn Informativo. Sevilla: IAPH. pp. 52-57
Ramos, R. G. & Martnez, E. R. A. 2001. La escultura policromada: critrios de intervencin
y tcnicas de estdio. In Arbor: ciencia, pensamento y cultura: No. 667-668. Madrid:
Editorial CSIC. pp. 645-676.












13
Examples of Ceramic tile work reintegration systems based on studying their
graphic sources

Ignasi GIRONS-SARRI* and Vicente GUEROLA-BLAY
Instituto Universitario de Restauracin del Patrimonio
de la Universitat Politcnica de Valncia
* igirones@irp.upv.es

Abstract

In this paper, we show several reintegration examples of ceramic tile works
whose level of losses hamper its reinterpretation. Our study intends to provide
a solution to the ever committed pictorial reintegration discipline within the
devotional ceramic tile work subject matter. The large number of
circumstances that enclose creative action, patronage, iconography,
sources, format, etc., mean that an approach to creative action is required
from its own phenomenology. In line with this, our study attempts to provide
a working pattern protocol around the study of the graphic sources
employed by virtually all the Valencian manufacturers throughout the 18th
century.
Thus, knowledge of sources of inspiration, either literal copies or direct
sources, require thorough research work to locate the deposits, archives and
collections where an information acquisition programme can be systemised,
or even protocoled.
The first part of our theoretical work attempts to demonstrate the
incidence and importance that the use of these engraved repertoires had,
while the second part focuses on the direct application of sources to the
reintegration process of formal graphic aspects. This point of view reverses
the traditional process carried out by ceramic masters and craftsmen
based on the examination of a work of art to seek or attempt to come closer
to its formal and graphic genesis.
Only the utilisation of these resources can validate the process of
retouching these ceramic tile works. This validity is based on recovering their
original message and their visual rhetoric, otherwise we may commit a
transgression against the symbolic and iconic sense of works.

Keywords: reintegration, ceramic tile work, Laborda press, graphic sources,
Valencia, devotional, 18th-century




14

Go with the Glow: An investigation into a 1960s artwork with phosphorescent
paint and its treatment possibilities

Ellen JANSEN
1
*

1
University of Amsterdam, Hobbemastraat 22, 1071 ZC Amsterdam,
The Netherlands

*ellenjansen@me.com
Abstract

In this paper I will discuss the process of finding a suitable retouching medium
for lacunae in the phosphorescent (or glow in the dark) paint layer of an
artwork without title (1968, RMT, Enschede) by IMI Giese. For this artwork,
Giese used a commercial paint called Wiedolux. FTIR analysis showed that
the zinc sulphide pigments in this paint are doped with cadmium, which has
great influence on its properties. Because of health regulations this type of
pigment cannot be produced anymore.
The challenging search began for a suited retouching paint. Besides the fact
that it has to resemble the original paint layer in daylight, the emission
spectrum of the pigment and duration and intensity of the afterglow need to
be comparable. Since none of the standard available options were usable,
it was necessary to try to manipulate the existing pigments and paints by
using tips from the manufacturers. The results have been evaluated using
technical analysis (light sensors) and visual observation.
In conclusion, a comparable (though not identical) medium can be made
by mixing two pigments with a different afterglow. Additions to the paint
have a direct effect on the properties of the paint in daylight, in the dark or
both. The right daylight colour of the retouching medium cannot be attained
by using regular pigments, because they will create a veil over the
phosphorescent pigments. This means that they cannot absorb UV very well,
which affects the intensity of the afterglow. For this purpose, transparent
pigments can be used.
Keywords: IMI Giese, phosphorescence, retouching, ZnS:Cd,


References
(not used for this abstract, but relevant for the subject)

Baring Technologies P/L. 2011. About Photoluminescence. A Brief Technical Introduction.
Ashdown, I. Glow and Behold. Industry News, 25 March 1999
Becker, R.S. 1969. Theory and Interpretation of Fluorescence and Phosphorescence, New
York: Wiley Interscience
Garlick, G.F.J. 1949. Phosphors and Phosphorescence. Reports on Progress in Physics, 12:
34-55.

15
Luminescent Colours, folder produced by Artemis Ltd., Braintree (United Kingdom).
Martindill, M.G. 1988. A European Eye on Luminescence: Fluorescent and
Phosphorescent Colours for the Visual Artist. Leonardo. 21(2): 187-190.
Valeur, B. & Berberan-Santos M.N. 2011. A Brief History of Fluorescence and
Phosphorescence before Emergence of Quantum Theory. Journal of Chemical
Education, 88: 731-738.
Wiehager R. ed. 2010, Minimalism Germany 1960s, exhibition catalogue Daimler Art
Collection (12 March 30 May 2010), Berlin: Hatje Cantz.
Weibel, P. ed. 1994. IMI Giese, exhibition catalogue Kunstverein Mnchen, Kunsthalle
Zrich, Neue Galerie am Landesmuseum Joanneum Graz, Stuttgart: Edition Cantz.




16
Altarpiece painting: a view from the inside

Mercs LORENA
1
*

1
Direco Geral do Patrimnio Cultural - Laboratrio Jos de Figueiredo (DGPC - LJF)
Rua das Janelas Verdes, 1249-018 Lisboa
*merceslorena@gmail.com

Abstract

Man has always restored day to day and artistic objects. There are a number
of examples of such interventions in paintings and sculptures from the 16th
century, which shows excesses of retouches and repaints to recover its
original condition. Restoration artisans, many times following the owners
request, didnt hesitate in repainting over the existing damages. Only during
the 20th Century, the opinion concerning lacunae reintegration shifts:
professionals start questioning the legitimacy of such intervention in art works.
Interventions should not jeopardize the integrity of artistic production.
Over these last years, several altarpieces were restored. Its conservation state
varied substantially from each other, mainly due to opportunistic, one off,
isolated interventions, many times out of its complete context. As a result, the
prevailing impression is the uneven character of final retouches and repaints,
leading, potentially, to mistakes in the historical and artistic characterization:
an art work conceived as complete set could be perceived as a collection
of individual works. Today, the painting reintegration is still a compromise
between the historical honesty and aesthetic demands. Still remains the
fundamental need to respect the original trueness of the object, as the
boundary of the intervention. In this communication, several examples of
restored altarpieces from the 1500s will be presented and analyzed: Retable
of the Virgin of Sorrows by Quentin Metsys from the Madre de Deus church in
Lisbon; the retable of the Holy Virgins Life from voras cathedral, and the
retable from Funchals Cathedral in the Madeira Island.
Keywords: retable, altarpiece, altarpiece painting, retouch, repaints,
reintegration




17
Textured Replacement Strip for a Missing Portion of a Portrait:
Problem Solving and Practical Solutions

Raquel MARQUES
1*
, Leslie CARLYLE
1
, Isabel POMBO CARDOSO
1


1
Department of Conservation and Restauration, Faculdade de Cincias e Tecnologia,
Universidade Nova de Lisboa, Campus Caparica, 2829-516 Caparica, Portugal

* raquel.marques.rm@gmail.com
Abstract

Despite all the scientific and practical knowledge that has emerged in recent
decades concerning reintegration and finding a visual balance between
damaged and original areas on paintings, there are still questions that arise
from specific treatments which can require creative and flexible thinking.
This paper will discuss the practical solution developed to replace a missing
strip in the lower portion of a 19th century female portrait in oil (a strip of
approximately 9cm by 66cm; almost 11% of the total surface area). For a
successful structural and aesthetic reintegration, a system was designed to
mould surface texture from the painting, and to cast an infill of uniform
thickness.
Because not all traditional infill materials cope well on a mechanical level
with thin layers over a very large surface (many are too brittle), strict criteria
had to be employed to choose the appropriate material. The primary goal
was to find a fill which would remain flexible and be capable of accepting
surface texture, such that there would be a good visual match with the
painting.
The fill material chosen is a commercial conservation quality product, BEVA
Gesso-P. The challenge was to design a method to cast a thin enough film of
the BEVA Gesso-P over a textured silicone mould taken from the painting
surface. The practical problems with scaling up from small tests, and the
solutions found will be described.

Keywords: Infill, Reintegration, Texture, BEVA Gesso-P, Film Casting




18

The influences of Viollet-Le-Duc, Alos Riegl e Cesare Brandi
in the field of Restauration Theory in Contemporary Art

Camila MORTARI
1,2*
; Margarida FERNANDES
1
; Rafael ROBLE
1

1
Faculdade de Belas-Artes da
Universidade de Lisboa, Largo da
Academia Nacional de Belas-Artes,1249-
058 Lisboa, Portugal

2
Centro de Fsica Atmica da
Universidade de Lisboa, Av. Professor
Gama Pinto 2, 1649-003 Lisboa, Portugal


* kamymortari@gmail.com
Abstract

The development of Restoration as an autonomous discipline started in the
19th century. During this time, there were many theorists who contributed to
the development of this scientific area. Over the years, some of their theories
were refuted, others were dropped or started getting a negative
connotation. However, one must not forget, that these theories were the
basis for the development of this scientific field and have left their mark in the
practice of restoration until the present day. This article aims to analyze the
theoretical principles that, nowadays, guide restoration interventions,
especially the criteria for retouching and chromatic reintegration. It aims to
spotlight the remaining influences of three great restauration theorists: Viollet-
Le-Duc, Alos Riegl and Cesare Brandi. Our selection of these theorists was not
random. It seeks to cover a vast period of time extending from the principles
of the autonomy of the discipline until contemporary times. This subject
becomes relevant when you take into account the new restoration issues
that emerge with interventions in Contemporary Art. Earlier obsolete theories
now become pertinent again, in the theoretical field, being revisited
consciously and, together with the required ethical principles, result in correct
practices of restoration.

Keywords: Theory of Restoration; Painting; Intervention; Chromatic
reintegration; Contemporary Art

References

Brandi, C. 2006. Teoria do Restauro. Amadora: Edies Orion.
Choay, F. 2000. A Alegoria do Patrimnio. Lisboa: Edies 70.
VIAS, S. M. 2005. Contemporary Theory of Conservation. Oxford: Elsevier Butterworth-
Heinemann.
Riegl, A. 2013. O Culto Moderno dos Monumentos. Lisboa: Edies 70.
Ursula, S. & Angela, W. 2010. Theory and Practice in the Conservation of Modern and

19
Contemporary Art. Londres: Archetype.
Righi, L. 2006. Conservar el Arte Contemporneo. Donostia-San Sebastin: Nerea.
Zijlmans, M. 2005. Modern Art: Who cares?, London: Archetype.
Internation Institute for Conservation of Historic and Artistic Works, ed. 2005. Investigacin
en Conservacin y Restauracin. Barcelona: Museo Nacional dArt de Catalunya.
Caetano, J. 2007. Pintura - Artes plsticas e Artes decorativas. Instituto dos Museus e da
Conservao.
Chiantore, O. & Rava, A. 2012. Conserving Contemporary Art: Issues, Methods, Materials,
and Research. Los Angeles: Getty Conservation Institute.
Appelbaum, B. 2010. Conservation Treatment Methodology. Lexington.
Getty Conservation Institute, Tate & National Gallery of Art, ed. 2006. Modern Paints
Uncovered: Proceedings from the Modern Paints Uncovered Symposium. London: Tate
Modern.













20
Chromatic (re) integration in Charola, Convento de Cristo, Tomar

Jos Artur PESTANA
1 *


1
Mural da Histria Rua Duques de Bragana 8, Ateli B, 1200-162 Lisboa


*pestana59@hotmail.com/mail@muraldahistoria.com.pt



Abstract

We wish to focus mainly in the interventions made at Charola of Convento
de Cristo
1
, Tomar, Portugal, specially the chromatic reintegration done in
their integrated heritage guadamecil, stucco and mural painting.

Starting with the interventions of the extinct Direco Geral dos Edficios e
Monumentos Nacionais, even if only slightly, we are interested mainly on
those done by the Instituto Jos de Figueiredo that started on the 70s of the
20th century and also in more recent campaigns which finished on past
February.

Such a journey will allow us to have an idea of the evolution of the
conservation and restoration criteria in Portugal about the inpainting issue, as
well as understanding the changing role of the State Government, that from
the role of main actor through fruitful activity of the Instituto Jos de
Figueiredo, becomes owner of the contract by delegating all conservative
action on private companies, first in simple and effective provision of services
and currently under restraining contracts.

Keywords: Charola, Convento de Cristo, chromatic reintegration,
guadamecil, stucco, mural painting.







1
Last year we addressed several cases in Portugal, including the Charola of the Convent of Christ in Tomar,
on the First International Meeting on Cultural Heritage of retouching.

21
Inpainting in Bookbinding Conservation
Materials and Techniques

Diana AVELAR PIRES
1*

1
Project Conservator, Digitisation Support. The National Archives
**
.
Kew, Richmond, Surrey. TW9 4DU London, United Kingdom

* d.avelar.pires@gmail.com
Davelarpires.com
**
This paper does not represent the opinions of The National Archives

Abstract

As a junior Book and Paper Conservator (Master's degree from the IPT in
Tomar, Portugal, 2011) I had the opportunity to do two international
internships allowing me to further study Bookbinding and Book Conservation.

In-painting gives a sense of cohesion and completion to a conservation
treatment therefore it comes as an important part of the process. During my
internships I could see and learn different methods of in-painting applied in
different situations. In Paper and Book Conservation in-painting means many
times that we have to tone or paint Japanese paper. The use of watercolors
is widely accepted among the Conservators as a reversible and compatible
material.

In this paper I will present other methods that proved to be successful: textile
dyes may be used to tone the Japanese paper before application and dry
pastel after as a retouching technique (as taught in the Faculty of
Conservation in Czech Republic, 2012); and the use of acrylics - Golden Fluid
Acrylics - as both preparation and retouching methods (as seen at the
Sheridan Libraries, Johns Hopkins University, Baltimore, USA, 2013).

Each in-painting technique has different implications and the Conservator
has then to balance the pros and cons, sometimes with flexibility and
accepting concessions in order to find the most suitable one.


Keywords: Acrylics, In-painting, Bookbinding, Techniques, Conservation
treatments

References

E.C.C.O. Professional Guide Lines (II): Code of Ethics. Promoted by the European

22
Confederation of Conser-vator-Restorers' Organisations and adopted by its General
Assembly, Brussels 7 March 2003. [online] [Ac-cessed 28 June 2014]. Available at:
http://www.icon.org.uk/index.php?option=com_content&id=121
Kite, M. & Thomson, R. 2006. Conservation of Leather and Related Materials. Burlington,
MD: Elsevier.
Product Information Sheet. Fluid Acrylics. [online] [Accessed 29 June 2014]. Available at:
http://www.goldenpaints.com/technicaldata/fluids.php.














23
Overpaints with cultural significance. How to define authenticity?
The case of Afonso de Albuquerques portrait

Ana Teresa TEVES REIS
1*
, Miguel MATEUS
2*
, David TEVES REIS
3*

1
Escola das Artes-
Universidade Catlica
Portuguesa. Rua Diogo
Botelho, 1327, 4169-005 Porto

2
Freelance
Conservator-restorer

3
Conservator-restorer

* teresa.mbragatevesreis@gmail.com
miguelmiramateus@gmail.com
davidtevesreis@gmail.com

Abstract

Removal or not removal of repaints and overpaints are always complex and
their justification isnt always objective. This type of operation can sometimes
result in a worn out surface with several losses of painting which normally are
supposed to be restored and integrated. Justified by the search or by the
reposition of authenticity, both these operations (restoration and integration)
will change the values formerly attributed to the object. When one is dealing
with works of art which are generally recognized of being cultural significant,
different values should be interpreted and discussed between stakeholders
and specialists from different areas of expertise in a multidisciplinary platform
before carrying out any intervention. This isnt always easy to achieve and
the conservator usually has the difficult task of transforming subjective
concepts into an objective solution. In this paper we present a case-study,
the panel portrait of Afonso de Albuquerque, currently exhibited in Museu
Nacional de Arte Antiga (Lisboa), which current investigation process has
proven to be the portrait of another governor, but repainted to resemble the
viceroy of Portuguese India during a restoration process in the 1960s
regarded has technically difficult. Several episodes throughout the history
of the Viceroy and Governors portrait Gallery and this specific panel gave
the repaint historic, documental and iconographic values. Investigation is still
ongoing and new facts may alter the definition of values to this portrait and
its authentic state in a process conservators should be ever more concerned
during restoration interventions, namely chromatic integration.

Keywords: Overpaints; Cultural significance; Values; Authenticity; Chromatic
integration.

References

Appelbaum, B. 2010. Conservation Treatment Methodology. S.l. Appelbaum.
Campos, A. 2014. Uma histria com barbas. National Geographic Portugal, Junho.
Muoz Vins, S. 2003. Teora contempornea de la Restauracin. Madrid. Sintesis.
Inpainting a Urania 19
th
Century Toy Theatre:

24
Problems and solutions.

Ctia SILVA
1*
, Leonor LOUREIRO
1**
, Fernando ANTUNES
1

1
Polytechnic Institute of Tomar, ESTT, Quinta do Contador, Estrada da Serra,
2300-313 Tomar, PORTUGAL

* katiass_21@hotmail.com
** leonorloureiro@ipt.pt
Abstract

A Urania nineteen century toy theatre is nowadays a rare object to find.
Created for the entertainment of children, this particular object is of German
origin, edited by Joseph Scholz, one of the main creators of games and
books for children at the time. It is a composite object, with wooden structure
covered with marbled paper, tinted paper and cardboard showing two
distinct forms of paper decoration: lithography and watercolour painting. It
also has a front complex scene in printed cotton, and some metal elements.
Structural problems and missing woody elements, countless tears in the
papers, weaknesses and lacunae in the cardboards, papers and in papers
decorations printing designs, watercolours and marbling designs ,
oxidation of the metallic elements, stains and powdery textile printing, were
some of the main problems encountered.
In order to solve these problems, the intervention of conservation and
restoration focused on the disassembly of the object, cleaning, consolidation
of tears, consolidation of powdery textile printing, filling gaps with Japanese
papers and conservation pulp, and finally inpainting of the printed,
watercoloured and marbled papers, essential for the full reading of the
object. Regarding the characteristics of the different decorated papers,
watercolours of the German brand Schmincke were chosen, and both
mimetic and discernible pointillism techniques were applied for the
inpainting mimetic for printing lines and pointillism for the colour lacunae.
The results obtained, being evident up close and unnoticeable when
observing the whole object, were very satisfactory.

Keywords: Inpainting of paper; Paper Conservation; Urania toy theatre;
Schmincke watercolours; Mimetic inpainting; Pointillism inpainting.

References

Brillas, M. D. & Barn, P. R. 2011. Restauracin de un abanico isabelino del siglo XIX. Ptina
16(II): 199-212.
Byrne, J.S. 1982. Renaissance Ornament Prints and Drawings. New York: Metropolitan
Museum of Art.

25
Fleming, D. 1996. Power Play: Toys a Popular Culture. New York: Oxford Road.
Gomes, A. 1964. A Criana e o Teatro. Lisboa: D.G.E.P.
Gusmano, A. 1994. Due Secoli di Litografia. Milano: Strumenti e tecniche.
Hembrow, V. 1934. Hours of Leisure: The Model Theatre. New York.
Hores, L. & Leisse, G. 2009. Dossier: Pliego, Papel y Tijeras. Espanha: Educacon y
Biblioteca.
Morales, M. 2005. Soluciones para un pas deteriorado: restauracin de un abanico del
siglo XVIII. Conserva, 9: 17-28.
Ribeiro, R. & Vieira, L. 2008. Teatros de Papel: A Arte da Preciso. Lisboa: R.P.O.- Produo
Grfica.
Sauer,O. 1982. Die Privat Theater Gesellschaft Urania von 1792 bis 1892. Berlim.
Seruya, A. I. Carvalho,G. 2004. Biombo de Papel Sino-Japons: Museu Nacional de Arte
Antiga. Lisboa: Instituto Portugus de Conservao e Restauro.
Seruya, A. I. Carvalho, G. 2005. Globos Coronelli: Sociedade de Geografia. Lisboa:
Instituto Portugus de Conservao e Restauro.
Staatliche Kunstsammlungen Dresden. Online Collection (online database) [Acessed
June 2014]. Available at: <http://skd-online-collection.skd.museum/en/contents/
searchList?filter%5BtextSearch%5D=Mainz&submit_button=Search>.
Mitschka, B. & Schenk Christine. Multum in Parvo (online database) [Accessed June
2014]. Available at:
<http://www.spielzeugtheater.com/pages/collections/scenes_scholz.html>.










26

Stick it on!
Temporary transfer papers as retouching media
for ceramics conservation

Tiago OLIVEIRA
1*


1
Sarah Peek Ltd., Brighton, United Kingdom

* poliveira.tiago@gmail.com

Abstract

This paper proposes the use of temporary transfer papers as an alternative
method for the retouching of plaster fills applied to ceramic objects. A
transfer printed Wood & Sons tureen was the basis for this investigation. The
original pattern was identified on the object and sourced online. The found
image was adapted on Photoshop

to match the object's colour and shape.
Two types of water-based, cold-application transfers were tested: TYPE 1,
Paper Slide Transfer; and TYPE 2, Temporary Tattoo Transfer. The pattern was
printed onto both papers in an ordinary printer and the motif transferred to a
plaster substrate. Normally, in creating a design motif, a retouching layer
would be applied prior to creating the design (Buys & Oakley, 1993).
However, it was considered that these transfer papers may not require this
stage. Therefore, both plaster and plaster with Golden Polymer UVLS Varnish
were tested. The various samples were compared visually and their
adherence and physical stability were investigated. Results were
aesthetically promising. They showed that TYPE 1 can have a slight height
inherent to its process of application and the paper itself is slightly coloured.
This solution proved to be easier to apply but only to small areas due to paper
wrinkling. TYPE 2, although thinner, showed a tacky adhesive for an extended
amount of time; this was minimised by airbrushing a layer of Golden Polymer
UVLS Varnish on top. Undergoing light ageing tests will assess the papers long
term ageing properties to evaluate their applicability to the desired purpose.

Keywords: temporary transfers, ceramic, plaster, light ageing.

References
Buys, S. & Oakley, V. 1993. The Conservation and Restoration of Ceramics. Oxford:
Butterworth-Heinemann.
Petrie, K. 2011. Ceramic Transfer Printing. London: A & C Black.



27

Petrified Paint
Research into the possibilities of reversible retouching media in the restoration of
mural paintings on porous substrates made with Keim silicate paint.

Drs. Karin M. Van der Lem MA
1
*

1
Conservation and Restoration of Historic Interiors, University of Amsterdam

* karinvanderlem@gmail.com

Abstract

In The Netherlands, from the beginning of the twentieth century till the sixties,
several mural paintings were made with Keim silicate paint. Keim paint, made of
a combination of waterglass and natural mineral pigments, was developed in
the late nineteenth century in Germany. Its properties make it essentially different
from other more traditional paint systems such as oil, glue or casein paints. The
most characteristic feature of Keim paint is that it does not form a film, but
chemically binds to the mineral substrate. During the painting process Keim paint
penetrates into the porous surface of the mineral substrate and through a
chemical reaction a microporous permeable coating is formed. Consequently
the paint, when dry, becomes insoluble and is therefore not reversible.
Considering durability, some conservators have suggested the use of Keim paints
to restore paintings that were originally made with these mineral paints. However,
as Keim paints are non-reversible, the guidelines of the Code of Ethics for
Conservation do not permit this practice. This code urges conservators to choose
materials that are not only durable, stable and compatible, but also reversible.
The research focuses on surface damage to the pictorial coating of Keimsche
mural paintings. Larger gaps and filled areas are not considered here. The aim is
to examine materials which allow Keim painted murals on porous substrates to
be retouched in a reversible way. An inventory has been made of materials used
in the conservation practice of 'Keimsche' mural paintings of the last twenty
years. This inventory is primarily based on interviews with conservators of historic
interiors. On the basis of this information and the associated case studies, a
selection of eight potential retouching materials was made. The selected
materials for retouching have been artificially aged, both by UV radiation (Xenon
Test Alpha High Energy) and by accelerated cycles of moisture and temperature
in a VC 0020 climate cabinet. The results have been visually evaluated with the
aid of the microscope and are linked to the information obtained from the
practice.
Combined with literature research on materials for retouching which were
commonly used for murals after the second half of the last century, a wide range
of the possibilities are discussed in relation to each other. This research proofs the
complexity to determine recommendations for a good retouching of murals
using a vapour permeable paint system such as Keim.

Keywords: Keim, silicate paint, mural paintings, reversibility, retouche, artificial
aging

28




Poster


29
Conservation and restoration of the Pipe Organ from the Church Our Lady of
Grace: chromatic and pictorial reintegration practice

Fernando dos Santos ANTUNES
1*

1
Polytechnic Institute of Tomar | Laboratory for Conservation and Restoration of Wood
Campus IPT | Quinta do Contador | Av. Dr. Aurlio Ribeiro | 2300-313 Tomar - Portugal

* fantunes@ipt.pt

Abstract

In this article we will discuss the intervention of conservation and restoration
carried out in a gilded and polychrome wood pipe organ, with particular
emphasis on procedures for chromatic reintegration of loss areas of metallic
finishes (silver leaf, covered with "golden" varnish) and pictorial reintegration
of loss areas of polychrome finishes. The pipe organ is from Church of Our
Lady of Grace and belongs to the Santa Casa da Misericrdia of Tomar. The
treatment of this musical instrument was carried out in the Laboratory of
Conservation and Restoration of Wood, in The Polytechnic Institute of Tomar
(IPT).
The case of this pipe organ prior to our conservation and restoration
intervention and the related reintegration process, whose philosophy and
methodology, based on the results obtained by exams and analysis carried
out previously, were oriented towards ensuring the aesthetic restitution of the
original pictorial decoration, that has been produced by an unidentified
painter, in Naples, in the year 1756, at pipe organs workshop of Thomas
Martino (son of organ maker also Regia Cappella di Napoli Giuseppe de
Martino).
This decoration that has been the object of three consecutive work
campaigns, of pictorial interventions (between eighteenth and twentieth
century), methodologically accounted for an monochrome oleic repainting
(in the same color as the original background), followed by an polychrome
oleic repainting (to imitation wood), and, lastly, an oleic monochrome
repaint (in dark brown), who deliberately hidden and greatly transformed the
aesthetics of this cultural asset.
The aim of this intervention was to minimize the disturbance caused by losses
and restore its functionality, while respecting the authenticity of the work of
art, as an artistic creation, a historical document and a cultural memory.

Keywords: repainting; repaint; reintegration; chromatic; pictorial; restitution.

References

Calvo, A. 1997. Conservacin y Restauracin: Materiales, tcnicas y procedimientos de
la A a la Z. Barcelona: Ediciones del Serbal

30
Cremonesi, P. 2004. LUso dei Solventi Organici Nella Pulitura di Opere Policrome.
Padova: il Prato.
The Getty Conservation Institute. 1998. Painted Wood: History and Conservation. Acts of
Symposium Orga-nized by the Wooden Artefacts Group of the American Institute for
Conservation of Historic and Artistic Works.1998. Singapore: The Getty Conservation
Institute.
Wolbers, R. 2000. Methods of Cleaning Painted Surfaces. London: Archetype
Publications.



31
Aquazol based retouching colors
Preliminary Tests and Advancement of an Experiment

Roberto BESTETTI
1 ,
Annalisa COLOMBO
2
, Daphne DE LUCA
3
, Valentina
Emanuela SELVA BONINO
1
, Vanessa UBALDI
5
.


1
CESMAR7-Centro per lo Studio dei Materiali per il Restauro, Via Mentana 5, 37128
Verona (VR), Italy
2
Dipartimento di Scienza dei Materiali, Universit degli Studi di Milano-Bicocca Piazza
dell'Ateneo Nuovo, 1 - 20126, Milano (MI), Italy.

3
DISBEF, Universit degli Studi di Urbino Carlo Bo Via Aurelio Saffi, 2 61029 Urbino (PU),
Italy.
4
Student at Corso di laurea magistrale in Conservazione e Restauro dei Beni Culturali
Universit degli Studi di Urbino Carlo Bo Via Aurelio Saffi, 2 61029 Urbino (PU), Italy

Roberto Bestetti*: conservazioneres@tiscali.it
Abstract

Samples of several retouching colors based on Aquazol 500
1-2
were prepared
in order to exploit their good characteristics and, also, their solubility in
alcohol or acetone (or mixtures), as substitutes of watercolors in retouching
paintings
3
. The study concerns physico-chemical characterization of the
Aquazol based colors, in particular investigation and characterization of the
binder, of inorganic pigments and organic dyes with which was mixed and
interactions of the binder with the latter.The study proposes alternative
retouching colors to watercolors, mixing the selected pigments with various
products such as Aquazol 50, 200 and 500
3-4
.The samples are analyzed using
different techniques as: Pyrolysis gaschromatography coupled with mass
spectrometry (Py GC-MS), Optical and stereomicroscopy (OM and SM),
Scanning electron microscope (SEM), Raman spectroscopy,
Thermogravimetric analysis (TGA), Differential scanning calorimetry (DSC)
and Size-exclusion chromatography (SEC), before and after ageing in Solar
Box
5
in order to check changes in examined colors, after treatment.
Common watercolors are widely used since years in the pictorial
reintegration, but not extensively studied. Therefore it is fundamental to
indicate scientifically their stability and their behavior towards certain values
of relative humidity, as well as their effective reversibility over time
6
.
Parameters such as stability, reversibility and durability over time are
evaluated and considered to establish which types of Aquazol based colors
are more suitable for retouching.

Keywords: Aquazol, retouching colors, watercolors, ageing, stability

32
References
1
Wolbers R. 2014 Aquazol: Basic Physical and Chemical Properties of Poly( 2-ethyl-
2oxazolines (lecture) Giornata di studio: Aquazol: Esperienze ed applicazioni nel
panorama italiano, Venaria Reale, Torino.
2
Wolbers, R.C., McGynn, M., Duerbeck, D. 1994 Poly(2-Ethyl-2-Oxazoline): A New
conservation consolidant, in Painted Wood: History and Conservation, Proceedings of
the Symposium in Williamsburg, pp. 514-527
3
Wolbers R. 2014 Aquazol: Nuove prospettive e approfondimenti per luso di
poliossazoline (aquazols) (workshop) Venaria Reale, Torino.
4
Sims, S., Cross, M., Smithen, P. 2010 Retouching media for acrylic paintings in: Mixing and
Matching Approaches to retouching paintings, edited by R.Ellison, P.Smithen and
R.Turnbull, Archetype London.
5
De la Rie, R. & Quillen Lomax, S. & Palmer, M. & Deming Glinsman, L. & Maines, An
investigation of the photochemical stability of Urea-aldehyde resin retouching paints. C.
2000, IIC Melbourne Congress.
6
Metzger, C.A., Maines, C., Dunn, J. 2011 Painting conservation Catalogue vol III:
Inpainting AIC, Paintings Specialty Group, American Institute for Conservation.



33
When criteria adjusts its definition
Retouching and the concept of lacuna positive (positive loss)

Antoni COLOMINA SUBIELA
1*
Mar CUSSO SOLANO
2**


1
Instituto Universitario de Restauracin del Patrimonio de la Universitat Politcnica de
Valncia, Camino de Vera s/n 46022 Valncia
2
Tate Britain, Millbank London (UK)

* tonicolomina@hotmail.com
** mar_cusso@yahoo.es
Abstract

We openly accept a series of basic standards when undertaking any
conservation treatment, however the theoretical basis of those standards, in
many cases, may need to be re-evaluated in order to adapt the
conservation treatment approaches to particular issues which can be found
in real cases. As much as we may aim to literally follow the conservation
standards already stipulated, this will need to be revised once the
intervention on the artwork takes place.
Consequently, it is clear that the criterion of maximum respect towards the
original should restrain from invasive retouchings crossing the delimited
borders of the paint loss. However, the principles applied during the
retouching process are subject to ongoing revision depending on different
types of scenarios that conservators may face.
In this aspect, the paint loss, which leaves the ground layer or support
exposed is not the only disruption which can cause problems in order to have
a proper lecture of the piece. Wear, abrasion or loss of thin layers of paint
(glazings) can reveal underlayers of paint, dirt deposits, flyspecks and
yellowed oxidized varnishes (lacuna positiva or in literal translation positive
loss ) all of these elements, can become exposed during the cleaning
process and may only be voided during the retouching process. In any case,
this action is not exempt of debate, due to the fact that the intervention will
leave an imprint on the original.
The definition of lacuna positiva (positive loss) relates to the same type
of concept that defines the notion of conventional paint loss : it is identified
as a inflexion of disruption on the art work but with the difference that in this
case the surrounding area preserves some or all of the original layers of
colour.

Keywords: positive loss, criteria, retouching, cleaning.
References
Cesare Brandi, Umberto Baldini, Salvador Muoz, Vicente Guerola, Rebeca Alcntara.

34
Handmade paints production
Materials and the process of manufacturing watercolor and
gouaches. Selection criterias for paints.

Leonel COSTA
1*

1
DarteCor geral.dartecor@gmail.com

leonelpcosta@hotmail.com

Abstract

In the Conservation and Restoration field its necessary knowledge about
constitutive materials of the products. Theyre used for compatibility,
reversibility and also stability and toxicity reasons. Knowing the process of
manufacturing, for example, watercolors and gouaches, can give warranty
and security to the Conservative Restorers when they need to do a
chromatic reintegration.

The paints selection is a very important phase in the chromatic reintegration
practice, because it influenciates the quality and the stability of the
intervention. Between the selection criterias stand out the: stability to the
light, granulometry, the power of dyeing and covering, the refraction index,
the range, the compatibility between pigment mixes, and others.

DArteCor is a project that pretends interact with the Conservative Restorer
Professionals elucidating them to the process and the materials used in the
manufacturing of artistic paints, as well as disponibilizating products that
allow a better quality of their intervention.
The mains goal of this exposition is describing the manufacturing process of
watercolor and gouaches, analyzing its advantages and disadvantages.

Keywords: DarteCor, handmade color, watercolor / gouaches, refraction
index, light stability.





35

Retouch and Chromatic Reintegration
Distinction of both terms in the conservation of photographs

Carina FONSECA
1*

1
Independent researcher, Conservator at Luis Pavo Lda and Freelancer, Portugal

* carinafonseca.cr@gmail.com

Abstract

In photography the term retouch is often used to describe the corrections or
improvements on the portrait subject, or the corrections on results of an
incomplete spectral sensitivity or poor technical manipulation. Today, with
digital images, and digital manipulation with software, such as Photoshop,
the term retouch has become even more trivialized.
By removing or adding material, through a digital or physical process, the
image becomes perfect to the photographer, printer or artists eyes.
Therefore, the term retouch is used to describe the original alterations in the
creative process as final adjustments.
Something totally different is the chromatic reintegration done by a
Conservator. As the term indicates, the chromatic reintegration is a process
to recover, chromatically, the missing areas for a correct reading of the
image, respecting and preserving the original. Although, always polemic, this
esthetical intervention, in photography, where the image is more sought than
the object itself, is particularly valuable since having white areas can
become very disturbing. Maintaining the integrity of the original, the
chromatic reintegration does not correct or cover imperfections on the
subject represented.
This study on distinction of retouch and chromatic reintegration came by the
necessity to distinguish the original, or previously characteristics, to the
Conservator intervention and start on the development of a controlled
vocabulary for the description of photograph conservation conditions.

Keywords: retouch; corrections; improvements; chromatic reintegration;
recovery; photographic manipulation.

References

Cartier-Bresson, A. 2008. Le vocabulaire technique de la photographie. Paris: Marval,
Paris Muse.
Fineman, M. 2012. Faking it: manipulated photography before Photoshop. New York: The
Metropolitan Museum of Art.

36
Herrera, R. 2011. Tcnicas de retoque de negativos fotogrficos: historia y conservacin.
In: Ptina. Madrid: Escuela Superior de Conservacin y Restauracin de Bienes
Culturales.
Lavrdrine, B. 2003. A guide to the preventive conservation of photograph collections.
Los Angeles: The Getty Conservation Institute.
McCabe, C. 2005. Coatings on photographs: materials, techniques and conservation.
Washington, DC: American Institute for Conservation of Historic and Artistic Works.
Norris, D. & Gutierrez, J. 2010. Issues in the conservation of photographs. Los Angeles: The
Getty Conservation Institute.
Osterman, M. 2007. Re-Touching. In: Peres, M. 2007. The focal encyclopedia of
photography: digital imaging, theory and applications, history, and science.
Massachusetts: Focal Press.

























37
Retouching of sculptures with worship function

Carla, REGO
1
; Margarida MANARTE
2
*


1
Professor of the Polytechnic Institute of Tomar

2
Master student of the Polytechnic Institute of Tomar, Quinta do Contador Estrada da
Serra, 2300-313, Tomar.

* margarida.manarte@gmail.com
Abstract

The aim of this paper is to present a practical case of retouching of two
wooden polychromed sculptures, part of a Holy Family, from the church of
Figueir dos Vinhos. The intervention was based on conservative methods but
there was also the need to use restorative treatments in order to give them
back their religious meaning and worship function.
The lacunae at the level of the polychromed layer and the areas where
support fillings were applied were retouched. The retouching proved to be
important to decrease the readings perturbation caused by those areas
(BRANDI, 2006: 89). The white coloration of the preparation layer and the
material used on the support fillings, was attracting the viewers eye,
preventing a correct and balanced observation, so to solve this problem two
techniques were used: For the lacunae on the body of the sculpture, in order
to approximate the whites to the color tone of the support, it was used a
water soluble aniline overlapping glazes until reaching the intended tone.
Thus, we could get a visual balance reducing the lacunae prominence; for
the lacunae in the faces, due to the importance that this part of the body of
the sculptures has, it was chosen a sub tone retouching with reversible
materials (BAILO, 2011: 49). The preservation of the original materials and
techniques was important, but it was also essential to devolve a correct
reading to the sculptures to assure their worship function, since the efficiency
of an object as a symbol is one of the goals of restoration (MUNOZ VINAS,
2003: 175).

Keywords: religious sculpture, neutral tone, sub tone.

References

BAILO, A. 2011. As tcnicas de Reintegrao Cromtica na Pintura: reviso
historiogrfica. Ge-conservation, 2: 45-63.
BRANDI, C. 2006. Teoria do Restauro. Lisboa: Orion.
MUOZ VIAS, S. 2003. Teoria Contemporanea de la Restauracion. Madrid: Sintesis.



38
The convergence of graphic sources in the pictorial production of Francisco
Ribalta in Valencia and Gregorio Vsquez de Arce
y Ceballos in Bogot

Natalia MEJA MURILLO
1*,
Vicente GUEROLA BLAY
*

1
Polytechnic University of Valencia, 46022, Valencia, Spain.

* nnataliam@hotmail.com
*
vguerola@crbc.upv.es

Abstract

The use of graphic sources as a formal mechanism for imaging is a topic that
was widely applied in the pictorial production of the XVI and XVII century.
The use of engravings, which was a common practice in European painting,
in America became a necessity due to the absence of teachers in painting,
leaving the Colonial artists guessing the right approach based upon the tools
they had at their hand. The availability of European graphic sources
established itself as a direct and decisive influence on the formation of
painters. From this perspective, similar representations were identified in the
paintings of Gregorio Vsquez de Arce y Ceballos, one of the most prominent
colonial painters in Colombia and Francisco Ribalta, an influential Spanish
baroque painter. Both of these artist used the same model horse and some
soldiers found on Flemish and Italian engravings for the composition of their
paintings titled Santiago en la batalla de Clavijo.
The research aims to emphasize the importance of a chromatic reintegration
based on valid sources that allows a respectful restoration of the original, and
therefore misinterpretation affecting the correct reading of the paintings are
avoided and thus the message that were conceived. For this reason the
location of these prints are an important contribution, not only documentary
and historical, but also as a tool for the restorer that would be able to use the
same sources that have served as models for painters.

Keywords: European engravings, colonial painters, chromatic reintegration,
Gregorio Vsquez. Santiago en la batalla de Clavijo.







39
Contemporary Reintegration

Carlos MOTA
1*

1
Museu do Douro

*cfmota@gmail.com


Abstract

This poster presents two practical cases: the first one is a low volume
reintegration of fragments of Portuguese faience from the 18th century, of
the collection of Museu de Lamego. This faience was found in the
archaeological excavations in So Joo de Tarouca and is a production of
Gaia pottery. The second case is a "dry chromatic reintegration" of a clock-
face, made of paper. Is an object dated from January 1958 and from the
manufacture Reguladora. Is collection of Museu do Douro.

These two interventions were influenced by the innovative methodologies
presented on the last year conference 1st International Meeting on
Retouching of Cultural Heritage, RECH1 (19th of October 2013). They are also
an adaptation to a line of work that follows the concept of Contemporary
Conservation/Restoration.

This poster aims to call attention to the need of reintegration under the
sustainable criteria, described by Salvador Muoz Vias in his work
Contemporary Theory of Conservation of 2005. According to him, the
sustainable intervention is more than the standard theoretical-practical
actions of classical restoration, which include historical and artistic study,
documental and analytic photographic record, examination and analysis of
the materials, conservation status assessment. These, all together, can help
to define a methodological restoration plan. This new criteria of sustainable
appeal to ecological products, with viable costs, and along with the
intervention process, can create educational mechanisms for the Cultural
Heritage protection.

Keywords: contemporary conservation/restoration; reintegration;
sustainability.







40
Retouching complex losses of altarpieces with mica pigments

Nelson NEVES
1;
Frederico MATOS
1


1
N_RESTAUROS, Conservao e Restauro, Lda, R. de Grij, N. 84, 2. Esq,
Porto

*n.restauros.cr@gmail.com

Abstract

Micas are interference pigments with high reflective and refractive
properties. Mixed with different binders can be used in the retouching of
losses in gilded surfaces. This practice can be considered as an evolution of
reintegration with three colours, because micas can be mixed with another
pigments, and can help to achieve the colour and brightness effect of the
gold leaf. The use of mica pigments can be an advantage in large losses: is
a low-cost and friendly use material. However, achieving the same reflection
brightness of the original gold surface is not easy and can be considered a
disadvantage.
Before starting the inpainting process itself, the use of mica pigments should
be preceded of a critical observation to understand if it is possible to obtain
a good result. Aspects like the surrounding surface, angle of observation and
the kind of illumination are very important. Depending of the texture of the
surface, mica pigments can produce large colour shifts, and also, depending
of the viewing angle and illumination settings they can manipulate incident
light. Due to this factors achieving satisfactory results can be a difficult task
1
.
The aim of this communication is to share our retouching experience with
mica pigments in large losses of altarpieces. This solution has been presenting
very satisfactory results in this type of cultural heritage, due to enable large-
scale economy, either in materials and costs involved, either in monetization
of hand labour very significantly.

Keywords: retouching, mica pigments, complex losses, altarpieces.

References
1
BAILO, Ana; SUSTIC, Sandra. Retouching with mica pigments. e-conservation Journal,
n. 1 (2013). pp. 45-56.







41
Structuring at the retouching step
State of the art: Study of the stakes, materials and techniques.

Galle PENTIER
* ga.pentier@yahoo.fr

Abstract

The pictorial creation is in constant mutation in its ways of expression and
materials. This evolution gives rise to new problematics which can challenge
the current retouching methods. The recent commercialization of a range of
retouching mediums, the B72 Retouching Gels, introduced a new
generation of reintegration mediums inspired by XIXth and XXth centuries
practices.
What we chose to name the structural retouching consists in reintegrating,
in one step, the colors and the physical relief of a lacunar painting. Contrary
to the filling-retouching method matching the surface relief and then the
color, this method would globally match the color, rheology and internal
structure.
The wet-in wet effects, superposition of glazing and the highest impastos
would be some of the practical stakes of this method.
This review first explores the notion of structure by defining it as the paint
internal architecture. Secondly, it evaluates if this technique can be used as
an alternative to the current retouching techniques: by confronting it to the
practical and ethical requirements of conservation, by investigating the
different materials which could be used to create a bodied retouching, and
by testing three categories of them through practical and aging tests.
It has been revealed that, besides reproducing the idiosyncrasy of the
pictorial vocabulary, the embodied retouch brings a precious alternative
through complex retouching cases where traditional methods has reached
their limits.

Keywords: B72 Retouching Gels, Rheology, Structure.

References

BAILAO, A. 2010. Application of a methodology for retouching, A study case of a
contemporary painting, [On line], (Accessed 16/03/2013). Available at:
http://ceroart.revues.org/1603#ftn11
BROSTOW, W. 1998. Mechanical and thermophysical properties of polymer liquid
crystals, London: Chapman and Hall.
CARLYLE, L. 2001. The artists assistant: oil painting instruction manuals and
handbooks in Britain 1800-1900, with reference to selected Eighteenth-century
sources, London: Achetype Publications.

42
DE LA RIE, R., 1988. Polymer stabilizers, a survey with reference to possible
applications in the conservation field, in Studies in conservation, 1(33), pp. 9-22.
DELABY, M-L. 2004. Les peintures matiristes modernes et contemporaines sur toile. Thesis
of Master, cole nationale suprieure des Arts visuels de la Cambre, Bruxelles.
DELCROIX, G. & HAVEL, M. 1988. Phnomnes physiques et peinture artistique, Puteaux :
EREC.
EFFMANN, E., 2006. Theories about the Eyckian painting medium from the late
eighteenth to the mid-twentieth centuries , in Reviews in Conservation, (7), pp. 17-26.
FELLER, R., L., 2002. Speeding up Chemical deterioration in Contribution to
conservation science. A collection of Robert Fellers published studies on artists paints,
paper and varnishes, Pittsburgh: Carnegie Mellon University Press, pp. 107-119.
GROEN, K. 1997. Investigation of the use of binding medium by Rembrandt , in Zeitschrift
fr Kunsttechnologie und Konservierung, 2(11), pp. 207-227.
HAIML, C. 2007. Restoring the Immaterial: Study and treatment of Yves Kleins Blue
Monochrome (IKB 42) , in Modern Paint Uncovered, (Tate Modern, 16-19 May 2006),
Getty Trust, pp. 149-156.
HAMM, J. & GAVETT, B. 1993. The discoloration of acrylic dispersion media, in Saving the
twenthieth century: the conservation of modern materials, Ottawa: Canadian
Conservation Institute, pp. 381-392.
HILL STONER & J., RUSHFIELD, R. 2012. Conservation of Easel Paintings, London: Routledge.
KLEIN, K., 1995. Wachsseifen und Wachsemulsionen als bindemittel. Mglichkeit ihrer
Anwendung bei der Retusche. , in Restauro, 4(101), pp. 268-271.
KONECZNY, P., 2010. An introduction to B72 Retouching Gels, in Mixing and Matching,
Approaches to retouching paintings, London: Archetype publications, pp. 142-147.
KONECZNY, P., 2010. Properties of B72 Retouching Gels and their use, in Mixing and
Matching. Approaches to retouching, London: Archetype Publications, pp. 148-158.
KONECZNY, P., 2007. Retouching complex surfaces, afternoon of workshop: B72
retouching gels, dans The picture restorer, Autumn, 32, pp. 6-11.
LEARNER, T. J. S. 2004. Analysis of Modern paints, Los Angeles: Getty Conservation Institute.
LOWRY, K., 2010. Retouching with Paralod B-72 , in Mixing and Matching, Approaches
to retouching paintings, London: Archetype publications, p. 89.
MANGUTA, C., 2010. The XVIIth centurys thixotropic painting medium, II. The old Flemish
School and their reconstruction following Rubens and Van Dycks recipes, in Journal of
Science and Art, Year 10, 1(12).
MASSCHELEIN-KLEINER, L., 2005. La technique des Primitifs Flamands , in Studies in
Conservation, 50, pp. 67-68.
MOTTA, E. & GUIMARES SALGADO, M. L. 1973. Restaurao de pinturas: aplicaes da
encustica, Rio de Janeiro : Instituto do Patrimnio Histrico e Artistico Nacional.
SAUTOIS, A., 2012. La retouche des peintures acryliques en mulsion non vernies : Aquazol
200. Etude des capacits physiques, chimiques et optique dun liant, [Online], (accessed
29/09/12). Available at : <http://ceroart.revues.org/2708#article-2708>.
SZMIT-NAUD, E., 2006. Stabilit de la couleur et rversibilit des matriaux contemporains
pour retouche des peintures , in Couleur et temps, la couleur en conservation et

43
restauration, 12 journes dtudes de la SFIIC (Paris, 21-24 june 2006), Champs-sur-
Marne : SFIIC, pp. 66-75.
SZMIT-NAUD, E., 2003. Research on materials for easel painting retouches: Part 1 , in The
picture restorer, Autumn, 23, pp. 5-9.
SZMIT-NAUD, E., 2003. Research on materials for easel painting retouches: Part 2 , in The
picture restorer, Autumn, 24, pp. 80-82.
SZMIT-NAUD, E., 2002. Constat dtat des retouches en peintures de chevalet , in
Bulletin de lAPROA-BRK, 4e trimestre, pp. 12-18.

Sites internet:
Artificial aging lights. [Online] [Accessed 11/02/13]. Available at : www.q-lab.com
B72 Retouching Gels official website. [Online] [Accessed 20/05/13]. Available at :
www.artcare.org
Request for a Patent. Freely accessible. [Online] [Accessed 10/05/13]. Available at :
http://www.ipo.gov.uk/p-find-publication-
getPDF.pdf?PatentNo=GB2448521&DocType=A&JournalNumber=6231























44


ndice


In search of uniformity in the museological context. A proposal for the
chromatic reintegration of a set of Phoenician archaeological ceramics
Alice Nogueira ALVES, Marta FRADE, Lus Jorge GONALVES, Manuel CALADO ...............5

Reintegration, integration, inpainting, retouching? Questions around
terminology
Ana CALVO, Ana BAILAO ...............................................................................................................6

Material and Methods for self production of retouching colors
Roberto BESTETTI,

Ilaria SACCANI ....................................................................................................7

The Conservation Treatment of Rijksmuseum Limoges Enamels. The Same
Approach, Three Different Treatments.
Ellen VAN BORK, Tamar DAVIDOWITZ, Sara CREANGE and Joosje VAN BENNEKOM
..............................................................................................................................................................9

Recreating Patina: The Retouching of Rodins The Thinker.
Tamar DAVIDOWITZ, Tonny BEENTJES, Rozemarijn VAN DER MOLEN....................................10

Retouching a monumental terracotta sculpture. Meeting the viewers
needs.
Cludia FALCO, Ricardo TRIES, Snia TAVARES, Joo RAMOS........................................ 11

45

Examples of Ceramic tile work reintegration systems based on studying
their graphic sources
Ignasi GIRONS-SARRI and Vicente GUEROLA-BLAY .......................................................... 13

Go with the Glow: An investigation into a 1960s artwork with
phosphorescent paint and its treatment possibilities
Ellen JANSEN .................................................................................................................................... 14

Altarpiece painting: a view from the inside
Mercs LORENA .............................................................................................................................. 16

Textured Replacement Strip for a Missing Portion of a Portrait: Problem
Solving and Practical Solutions
Raquel MARQUES
1*
, Leslie CARLYLE
1
, Isabel POMBO CARDOSO
1
........................................ 17

The influences of Viollet-Le-Duc, Alos Riegl e Cesare Brandi. in the field of
Restauration Theory in Contemporary Art
Camila MORTARI; Margarida FERNANDES; Rafael ROBLE ...................................................... 18

Chromatic (re) integration in Charola, Convento de Cristo, Tomar ............ 20
Jos Artur PESTANA ........................................................................................................................ 20

Inpainting in Bookbinding Conservation. Materials and Techniques.
Diana AVELAR PIRES ...................................................................................................................... 21

Overpaints with cultural significance. How to define authenticity? The
case of Afonso de Albuquerques portrait
Ana Teresa TEVES REIS, Miguel MATEUS, David TEVES REIS ..................................................... 23

Inpainting a Urania 19
th
Century Toy Theatre: Problems and solutions.
Ctia SILVA
1*
, Leonor LOUREIRO
1**
, Fernando ANTUNES
1
....................................................... 24

Stick it on! Temporary transfer papers as retouching media for ceramics
conservation
Tiago OLIVEIRA
1
.............................................................................................................................. 26

46
Petrified Paint. Research into the possibilities of reversible retouching
media in the restoration of mural paintings on porous substrates made with
Keim silicate paint.
Karin M. Van der Lem .................................................................................................................... 27

Conservation and restoration of the Pipe Organ from the Church Our Lady
of Grace: chromatic and pictorial reintegration practice
Fernando dos Santos ANTUNES
1*
................................................................................................. 29

Aquazol based retouching colors. Preliminary Tests and Advancement of
an Experiment
Roberto BESTETTI
,
Annalisa COLOMBO, Daphne DE LUCA, Valentina Emanuela SELVA
BONINO , Vanessa UBALDI. .......................................................................................................... 31

When criteria adjusts its definition. Retouching and the concept of lacuna
positive (positive loss)
Antoni COLOMINA SUBIELA, Mar CUSSO SOLANO .................................................................. 33

Handmade paints production. Materials and the process of
manufacturing watercolor and gouaches. Selection criterias for paints.
Leonel COSTA ................................................................................................................................. 34

Retouch and Chromatic Reintegration. Distinction of both terms in the
conservation of photographs
Carina FONSECA ............................................................................................................................ 35

Retouching of sculptures with worship function37
Carla, REGO; Margarida MANARTE ............................................................................................ 37

The convergence of graphic sources in the pictorial production of
Francisco Ribalta in Valencia and Gregorio Vsquez de Arce
y Ceballos in Bogot
Natalia MEJA MURILLO;
,
Vicente GUEROLA BLAY ................................................................... 38

Contemporary Reintegration
Carlos MOTA.................................................................................................................................... 39


47
Retouching complex losses of altarpieces with mica pigments
Nelson NEVES;
;
Frederico MATOS ................................................................................................. 40

Structuring at the retouching step. State of the art: Study of the stakes,
materials and techniques.
Galle PENTIER ................................................................................................................................ 41




























48








Notes





49


50


51











September 2014