6th International Meeting on Retouching of Cultural Heritage

BOOK OF ABSTRACTS 2021

RECH6 Host Venue | Instituto Universitario de Restauración del Patrimonio (IRP) of the
Universitat Politècnica de València, Spain.

Design | RECHGroup
Proofreading | Ana Bailão, Beatriz Domenech 2
Venue and Date | Valencia, Spain, 2021
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SCIENTIFIC COMMITTEE
Frederico Henriques Catholic Portuguese University/ CITAR, Portugal

Ana Bailão Faculty of Fine Arts/ CIEBA, Portugal Giuseppina Perusini University of Udine, Italy

Ana Bidarra Cinábrio, Conservação e Restauro Isabel Argerich Instituto del Patrimonio Cultural de España, Madrid, Spain

Ana Calvo Complutense University, Madrid, Spain Isabel Tissot Archeofactu & LIBPhys-UNL, Portugal

Andreja Dragojevic Croatian State Archives Ilaria Saccani CESMAR7, Italy

Agnès Le Gac FCT- New University of Lisbon/LIBPhys-UNL, Portugal Ivana Svedruzic Separovic Croatian conservation Institute

Antoni Colomina Subiela Universitat Politècnica de València, Spain José Manuel de la Roja Complutense University, Madrid, Spain

Arianne Vanrell Museo Nacional Centro Reina Sofía, Madrid, Spain Kaja Kollandsrud Museum of Cultural History, University of Oslo, Norway

Alicia Sanchez Ortiz Complutense University, Madrid, Spain Krešimir Bosnić Private practice (ART RESTART), Arts Academy of the
University of Split
Antonino Cosentino Cultural Heritage Science Open Source, Italy
Ksenija Škarić Croatian conservation Institute
Barbka Gosar Hirci Institute for the Protection of Cultural Heritage of Slovenia
Kristin R. deGhetaldi University of Delaware, Newark, DE, United States
Barbara Lavorini Istituto Superiore per la Conservazione e il Restauro, Roma,
Italy Laura Baratin Università degli Studi di Urbino "Carlo Bo", Scuola di
Conservazione e Restauro, Urbino, Italy
Branko Pavazza Croatian conservation Institute
Leonor Loureiro FCT- New University of Lisbon, Portugal
Emmanuelle Mercier Institut Royal du Patrimoine Artistique, Bruxelles, Belgium
Leonardo Severini Private, Italy
Estelle De Groote Institut Royal du Patrimoine Artistique, Bruxelles, Belgium
Lorraine Mailho C2RMF, France
Elisa María Díaz González University of La Laguna, Spain
Luisa Landi Università degli Studi di Urbino "Carlo Bo", Scuola di
Francesca Tonini Ca´Foscari University in Venice | Università degli Studi di Conservazione e Restauro, Urbino,Italy
Urbino "Carlo Bo", Scuola di Conservazione e Restauro,
Urbino, Italy Luís Pereira Água e Cal, Conservação e Restauro, Portugal
Luciana Tozzi Laboratorio di Restauro - Galleria Nazionale d'Arte
Moderna e Contemporanea, Rome, Italy

Lucija Močnik Ramovš University of Ljubljana, Slovenia

María Castell Agustí Universitat Politècnica de València, Spain

Mario Cvetković FESB, University of Split, Croatia

María José González López Universidad de Sevilla, Spain

Mara Kolic Pustic Croatian Conservation Institute, Croatia

Oriana Sartiani Scuola di Alta Formazione e di Studio Opificio delle

Pietre Dure - Firenze, Italy

Rocío Bruquetas Museo de América, Spain 7

Rubén Morales Complutense University, Madrid, Spain

Sandra Sústic Cvetkovic Croatian Conservation Institute, Croatia

Silvia García Fernández-Villa Complutense University, Madrid, Spain

Sonja Đuraš Croatian Conservation Institute

Susana Martin Rey Universitat Politècnica de València, Spain

Vicente Guerola Blay Universitat Politècnica de València, Spain

Dear Colleagues,

After three editions of the International Meeting on Retouching of Cultural Heritage in Porto,
Portugal, the 4th edition in Split, Croatia, and the 5th edition in Università degli Studi di Urbino
"Carlo Bo", in Italy, the RECH6, this year will take place virtually on 4th to 6th November 2021.

RECH6 is a collaboration between the RECHGroup and the Instituto Universitario de

Restauración del Patrimonio (IRP) of the Universitat Politècnica de València, Spain, with the
support of the Faculty of Fine Arts of the University of Lisbon

RECH Biennial Meeting is one of the largest educational and scientific events in Retouching field,
an ideal venue for conservators and scientists to present their research results about retouching.

The main focus will be to promote the exchange of ideas, concepts, terminology, methods,
techniques and materials applied during the retouching process in different areas of conservation:
mural painting, easel painting, sculpture, graphic documentation, architecture, plasterwork,
photography, contemporary art, among others. 8

This Meeting aims to address retouching by encouraging papers that contribute to a deeper
understanding of this final task of the conservation and restoration intervention. The main theme
embraces the criteria and limits in the retouching process and their technical and scientific
developments. This Meeting will discuss real-life approaches on retouching, focus on practical
solutions and on sharing experiences.

We have received proposals from authors from 15 different countries, and people from 21
countries have also registered for the event as general public

RECHGroup
Thematic map showing the geographic distribution of the Thematic map showing the geographic distribution of the
speakers general public

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PLAN OF THE PROGRAMME

SCHEDULE e-Posters | Breakout Rooms | 16h00

ROOM 1 ROOM 2 ROOM 3 ROOM 4

10h00 10h30 12h00 15h00
e-poster nº e-poster n.º e-poster n.º e-poster n.º
4th Session 1 Session 2 Session 3
Opening 1, 2, 3 4, 5, 6, 7 8, 9, 10 11, 12, 13, 14
Nov. Topic 1 Topic 2 Topic 3
10h00 11h45 15h00
5th Session 4 Session 5 Session 6
Nov. Topic 4 Topic 4 Topic 4
10h00 11h30 15h00 16h00 17h00
e-poster
6th Session 7 Session 8 Flash-
Breakout Closing
Nov. Topic 4 Topic 5 Talks
rooms 10

TOPIC 1 Contemporary criteria on chromatic reintegration

TOPIC 2 Chromatic reintegration: museums and private context
TOPIC 3 Documentation of chromatic reintegration process
TOPIC 4 Materials and techniques experiences
TOPIC 5 Digital technologies as resources for the chromatic
reintegration process

ÍNDEX
COMMUNICATIONS
Critical and analytical approaches in a contemporary mural painting' retouching
process: the key study of murals by Antonio Carena ................................................... 14
Remove, repaint or retouch: should the community decided? The case of the
outdoor murals of the Riachos village, Portugal. .......................................................... 15
Interventions in urban centers: questions about chromatic (dis)integration ............. 16
The silver lining: Preliminary research into gold-coloured varnishes for loss
compensation in two 19th century silver gilded frames ............................................... 17
The pictorial treatment of the 18 th century painted lambriggioIn the alcova room of
Palazzo Chiablese – Turin: methodological approach, technical solutions and
retouching materials .............................................................................................. 18
Retouches with history – conservation of The Sacred Heart of Jesus by Adolf
Duszek and its authorial post-WWII restoration ............................................................ 19
When retouching was an artist’s profession in photography ...................................... 20
Restoration of polychrome wood sculpture: a case study with highly weakened
polychrome........................................................................................................................ 21
With a little help of my friends. A hopeful educational methodology on retouching for
conservation-restoration students on wooden sculpture ............................................ 22
Recovery of a severely deteriorated painting: The Martyrdom of Saint Sebastian by
Giovanni Santi ................................................................................................................... 23
Retouching a Retouched Painting. Evaluation and re-treatment of historic
retouchings in the conservation of a painting by Lavinia Fontana ............................. 24
Mapping losses on a mural painting: a case study with a barrel vault ceiling ........... 25
Documenting two retouching processes in a French Louis XV Cartel ........................ 26
Adapting and evolving the traditional technique of egg tempera retouching at the
Hamilton Kerr Institute ..................................................................................................... 27
The retouch of golden surfaces in extreme conditions: the case of the Main
Altarpiece of the church of Concha, Guadalajara .......................................................... 28
A new pigmented wax-resin formulation for infilling and reintegrating losses in
paintings: testing its applicability in two case studies ................................................. 29
The importance of painting copy and mock-ups in retouching process ................... 30
Problems of integration in polychrome wooden sculpture, examples of repairing
gaps on large-sized, very incomplete artworks ............................................................. 31
Skin Matters - Conservation Restoration Treatment of a 16th-Century polychromed
Wooden Sculpture ............................................................................................................ 32
Innovative approaches for the re-integration of fifteenth century Spanish panel
paintings ............................................................................................................................ 33
Dyes, Paints, and Inks: An Overview of Visual Compensation Techniques in Textile
Conservation ..................................................................................................................... 35
Retouching mural paintings in hypogeum: preliminary study and first results ......... 36
Moisture Sensitive easel paintings: A Practical Application of filling and texturing of
losses with Aquazol.......................................................................................................... 37
Contact lenses for a wood sculpture .............................................................................. 38
11
Disintegration in the surface restoration process – The case of Jorge Vieira, Bull ... 39
Textile chromatic reintegration: different methods for specific pathologies. A
challenge for textile conservators ................................................................................... 40
Materials contemporary used in retouchings – indications for selection, not only for
students ............................................................................................................................. 41
The influence of fillers on the chromatic reintegration process on easel paintings:
analytical study for flesh color ........................................................................................ 42
The case of the exposed ceramic panels by the artist Jorge Barradas at Palácio da
Justiça de Lisboa .............................................................................................................. 43
The virtual chromatic reintegration of lacunae through augmented reality. Design of
a method applied to paintings ......................................................................................... 45
A transdisciplinary approach towards the digital chromatic restitution of overpainted
layers in Goa’s Viceroys gallery ...................................................................................... 46
Development of a scientific methodology for the virtual chromatic reintegration of
two 15th century burnt painting panels from the Cathedral of Valencia ..................... 48
e-POSTERS

Ryūkyū round lacquered box: chromatic reintegration methodology......................... 50

Testing of chromatic reintegration materials and techniques with simulations on
mock-ups: an example on the glazed ceramic pitcher from the National Museum of
Slovenia ............................................................................................................................. 51
The volumetric and chromatic reintegration of hydraulic mosaic: comparison of 4
techniques ......................................................................................................................... 52
The making of historically informed reconstruction of the upper part of the baroque
sculpture of an angel from Kaštel Novi (Croatia) .......................................................... 53
Proposal for the chromatic reintegration of losses in the paint layer on an Egyptian
coffin .................................................................................................................................. 54
Mock-up reconstructions of golden textiles depicted in renaissance paintings from
Croatia: the pursuit of embellishment techniques ........................................................ 55
Approach to the retouching of a 17th century flemish painting ................................... 56
12
A Technical Study of Red Colors in Retouch Layer of Some Wet-Collodion Glass
Plate Negatives of Golestan Palace Photo Archive ....................................................... 57
Wooden colored pencils as an alternative reintegration material for large gaps in
easel painting conservation............................................................................................. 58
The tratteggio meter as a tool for collaborative work in the chromatic reintegration
processes .......................................................................................................................... 59
The perception of the chromatic reintegration from the adjustment of the work
clothing. The lab coat and its colour alternatives ......................................................... 60
The use of a colour-checker in colour matching for the process of chromatic
reintegration ...................................................................................................................... 61
Pictorial Reconstruction of Palomino’s Ceiling ............................................................. 62
Smart Heritage: an Easy Method for Matching Colors .................................................. 63
COMMUNICATIONS
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 Critical and analytical approaches in a contemporary mural
painting' retouching process: the key study of murals by BRIEF BIOGRAPHY
Antonio Carena
Paola Mezzadri
(1) Paola Mezzadri, (2) Francesca Valentini,(3) Maria Concetta Capua

(1) Paola Mezzadri, Istituto Centrale per il Restauro: ICR official conservator-restorer,
paola.mezzadri@beniculturali.it
(2) Francesca Valentini, Istituto Centrale per il Restauro: ICR official art-historician,

francesca.valentini-01@beniculturali.it
(3) Maria Concetta Capua: Koiné Conservation and Restoration cooperative,

mariaconcetta.capua@gmail.com
Paola Mezzadri holds degrees in "History of Art and Conservation of Cultural Heritage"(BA)
This abstract focuses on critical and analytical approaches behind every reintegration
from RomaTre University and in "Conservation and Restoration of Cultural Heritage"(MA)
process in the conservation project of mural paintings. Moreover, there will be analysed
from Istituto Centrale per il Restauro (ICR) of Rome, Italy. She has worked, as a
materials and techniques applied in a selected case study of murals realized by Antonio
Carena located in the outdoor contemporary museum of Piscina in Italy. Contemporary Professional, on all the works of art executed in natural and artificial stones: mural paintings,
criteria on chromatic reintegration are still connected to a case by case situation where the mosaics, and all the decoration applied to the architectural field collaborating with several
aesthetic presentation of a work of art is the phase of the restoration in which the exquisitely Institutions such as The Vatican Museums, The Pontifical Commission for Sacred
critical nature of the intervention is best expressed, since it implies a critical judgment of the Archaeology, The International Institute for Restoration and Preservation Studies. She has
operator which is called to interpret some formal, visual and historical values of the work of made also experiences abroad in the retouching field of oil paints materials both on wall and
art, acting on them. The operator's judgment, and therefore its consequent action, is not and on canvas but now she focused her research on conservation projects of synthetic paints on
cannot in any way be considered subjective, but on the contrary must be based on precise wall.
theoretical principles that guarantee that the reintegration will move on a track of univocity in At the moment she is ICR official Conservator Restorer for the Istituto Centrale per il
methods according to objective ones. For this reason, at the basis of the reintegration Restauro in Rome, Italy, where she teaches, develops projects and publications in
intervention, there must be a specific planning based on scientific criteria which are also conservation, restoration and research in its fields of specialization related to the study of
objective and based on the visual perception of color by the human psyche, and its executive techniques and the experimentation of materials for restoration with particular
consequent aesthetic elaboration, which passes through a scientific-critique interpretation of reference to the field of contemporary art.
the constituent materials in the work of art. In the history of restoration, two different
theoretical orientations have always been opposed: the first one, more linked to the educated
context of academia, has considered the work of art a real material document enhancing its
historical value and underlining the need for preserve its originality; the other, linked to the
antiquarian world, was instead more interested in the figurative and aesthetic message of
the work of art in restoring the original figurative idea through typological and stylistic
comparisons and analogical procedures. Only with Riegelian thought and with the more
systematic Brandian theory, the opposing forces of the two different positions will be
recomposed in a theory whose critical and methodological rigor still remains unsurpassed.
 Remove, repaint or retouch: should the community
decided? The case of the outdoor murals of the Riachos
village, Portugal.
Ânia Chasqueira1, Ângela Ferraz2, Ricardo Triães3
1. TECHN&ART - Centre for Technology, Restoration and Art Enhancement,
Polytechnic Institute of Tomar, Project funded by FCT - Foundation for Science and
Technology with reference UI/BD/151231/2021, al.chasqueira@gmail.com
2. TECHN&ART - Centre for Technology, Restoration and Art Enhancement,
Polytechnic Institute of Tomar, asaferraz@gmail.com
3. TECHN&ART - Centre for Technology, Restoration and Art Enhancement,
Polytechnic Institute of Tomar, rtriaes@ipt.pt
conservation? The authors or the conservators? Who decide the intervention criteria? The
artist who create the mural, the community that live with them, or the owner of the wall?
In this way, it is intended to promote among the local community the recognition and
appreciation of murals and the adoption of some basic intervention criteria. The continuity of
these murals is closely linked to the direct action of the painters and the community, which
sees part of their identity in these murals. The murals' chromatic reintegration actions are
vital for their conservation, under consequence of being rejected and disappearing. Together
with the community, a methodology of chromatic reintegration interventions will be created
to guarantee the murals sustainability as a tool for the preservation of tangible and intangible
cultural heritage.
BRIEF BIOGRAPHY

Ânia Chasqueira
The ethnographic murals of Riachos, a village in the center of Portugal, were initiated in 2012
in the context of the Cattle Blessing Festival, a religious and ethnographic feast with great
meaning for the local community related to enhancing cultural pride and local traditions. The 15
paintings were carried out on the facades or dividing walls of several houses, by amateur
artists. In 2016, new murals were created and some of the existing were “restorated”,
currently existing about 60 murals. As community murals, they are not simply meaningful
images on walls but have become a relevant catalyst for local identity in public space.
However, the preservation of these outdoor murals faces particular challenges. Exposed to
adverse climatic conditions, the state of good conservation could be compromised in a short
period of time and their lifespans can also be short. In the other hand, conservative Ânia Chasqueira is a Master in Conservation and Restoration in the specialization area of
guidelines for street art are still missing and outdoor murals preservation is still one open Integrated Heritage and a degree in Conservation and Restoration from Instituto Politécnico
topic in the conservation field. de Tomar (IPT). Is Doctoral Student in Heritage Studies at the Universidade do Algarve and
Researcher Fellow by Foundation for Science and Technology (FCT) at TECHN&ART -
This paper presents an approach for reflect on the challenges on conserving the
Centre for Technology, Restoration and Art Enhancement, at Polytechnic Institute of Tomar.
ethnographic outdoor murals of Riachos. This research is part of the “MurArte” project, an
interdisciplinary study covering historical research, documentation, and scientific
investigation into murals’ materials and techniques. Once several types of “restoration”
methodologies were registered, such as repainting, (punctual or complete, and the the
remove and the execution of a new mural in the same place) the intangible values must be
considered and assess what importance it have in the intervention process. How to conserve
the immaterial value of these mural paintings? Who should be the responsible for the
 Interventions in urban centers: questions about chromatic
(dis)integration BRIEF BIOGRAPHY
Camila Ferreira Guimarães Camila Ferreira Guimarães
Laboratório de Estudos do Território (LET - UNIUBE); Laboratório de Estudos do
Ambiente Urbano Contemporâneo (LEAUC – IAU USP)

The revaluation of historic centers in Brazilian cities, as a result of their real estate value, has
expanded intervention actions in historic urban areas in recent years. These interventions
many times respond to immediate actions related to new uses, private interests or to promote
public power. We emphasize that cultural heritage in Brazil shares a recent history, marked
Architect and Urban Planner (UNIUBE), master in Theory and History of Architecture and
by conflicts, idealism and preservation. In this sense, this work aims to launch a critical
Urbanism (IAU-USP), PhD student at the Institute of Architecture and Urbanism of the
perspective on the intervention actions undertaken lately in the historic center of the city of
Uberaba – a medium size city in the interior of the State of Minas Gerais. The central region University of São Paulo. Researcher at LEAUC: Laboratório de Estudos do Ambiente Urbano
of the city is made up of a set of buildings from the eclectic period that share space with Contemporâneo; LET: Laboratório de Estudos do Território. Professor at University of
modern buildings around the city's main square. This square underwent several changes Uberaba where she teaches theoretical and practical subjects about Cultural Heritage and
over time, highlighting the weaknesses in the construction of a heritage landscape in this Urban Planning. Member of ICOMOS-Brazil.
territory, which supports collective memory. If, on the one hand, we have a set of historic 16
buildings that resist the layers of time, on the other there is a trivialization of these spaces
resulting from urban and architectural interventions. That said, we are interested in the
contemporary transformations carried out in this region, which are related to both the market
logic and the regulations regarding the cleaning of the facades of historic buildings, such as
the removal of advertising boards from stores. Such issues have given rise to numerous
renovations of historic buildings that have been listed or inventoried. These reforms
introduced new colors to the region, raising questions about the criteria (or lack thereof) for
chromatic definition. Solutions that were influenced by other emblematic examples in the
country or by actions to promote the businesses located in these buildings. The appeal to
the use of strong colors without surveys or appropriate restoration techniques generates
noise in the urban landscape. In this sense, we can ask ourselves if the advance in the
promotion of heritage built by the public authorities can result in a tendency to trivialize the
urban set. Specifically in this presentation, we will focus on the analysis of trivialization
processes in urban sets of historical interest from the chromatic aspect, using comparative
analyses, with structure analysis keys for the development of an initial critique of the cultural
heritage in Uberaba.
 The silver lining: Preliminary research into gold-coloured preliminary this research may inform the selection and application of appropriate
retouching materials for compensating losses to burnished silver leaf and gold -
varnishes for loss compensation in two 19th century silver coloured varnishes in gilding conservation.
gilded frames

Genevieve Tobin
BRIEF BIOGRAPHY
Art Gallery of New South Wales, Australia, Genevieve.tobin@ag.nsw.gov.au
Genevieve Tobin
The chromatic reintegration of gold coloured varnishes on white metal gilding
present specific material and technical challenges. In 2021 the Art Gallery of New
South Wales (AGNSW) treated two identical late 19th century silver gilded frames
for portraits by Joseph Backler from the Australian collection. In addition, a third
portrait in the series required the fabrication of a reproduction frame identical to the
others. The project presented the opportunity to experiment with select conservation
paints, dyes and synthetic resins as substitutes for shellac to reconstruct losses to
coloured silver gilding. Experiments were carried out on traditional water gilded
sample mock-ups of various metal leaf including metal tokens gilded non- 17
traditionally with aluminium as substitutes for silver leaf. Materials for experiments Genevieve Tobin is a frames conservator working at the Art Gallery of New South
were selected based on their familiar use in conservation and specific requirements Wales, Sydney, Australia where she treats frames for Australian and International
for gilding. The visual appearance, compatibility, performance and reversibility of painting collections. Originally trained as a paintings conservator and having worked
materials were evaluated against traditional samples of orange shellac and white lac in private practice her current research interests include the conservation of glazed
coloured with spirit stains which were used to finish the reproduction frame. The white metal gilding and gel cleaning methodologies for artworks exploring
results of experiments demonstrate that Liquitex™ Soluvar Gloss Varnish, Laropal applications for partially hydrolysed poly (vinyl alcohol)-PVOH borax solvent gels for
A81 and Paraloid B72 present gloss levels and continuous film formation cleaning gilded and painted surfaces. Genevieve holds a Bachelor of Fine Art
comparable to shellac coatings. Golden ® Mineral Spirit Acrylics (MSA) were used degree from Monash University majoring in Contemporary Practices (Painting) and
to successfully retouch the matte gilded slips however a combined approach was an MA in Cultural Materials Conservation from the University of Melbourne.
required to unify losses in the original shellac varnish on burnished moulding on both
Genevieve is the current convenor of the Conservation Framers Special Interest
frames. A system using four MSA colours in Soluvar Gloss Varnish applied in two to
Group (CFSIG) of the Australian Institute for the Conservation of Cultural Material
three separate layers was later followed by a third layer of a Laropal glaze tinted
with Orasol ® dyes and dry pigment. Further tests were carried out after treatment (AICCM).
of the frame with various dye colours with results illustrating that Orasol® dye mixes
in colours Yellow 2GLN, Yellow 2RLN and Brown 2GL are reliable colour imitations
for traditional gold-coloured varnishes. All materials were reversible after 4-6 weeks
of application with minimal changes to the appearance of gilding. Although
 The pictorial treatment of the 18 th century painted
lambriggioIn the alcova room of Palazzo Chiablese – Turin: BRIEF BIOGRAPHY
Methodological approach, technical solutions and
retouching materials Daniela Russo

Alessandro Gatti (1),Daniela Russo (1), Roberta Capezio (1), Anna Piccirillo (1),
Massimiliano Caldera (2), Paola Manchinu (1)

(1) Centro Conservazione e Restauro “La Venaria Reale”, via XX Settembre 18 – 10078
Venaria Reale (Turin), Italy, mail: alessandro.gatti@centrorestaurovenaria.it;
daniela.russo@centrorestaurovenaria.it; roberta.capezio@centrorestaurovenaria.it;
anna.piccirillo@centrorestaurovenaria.it; paola.manchinu@centrorestaurovenaria.it
(2) SABAP-To, piazza S. Giovanni 2 – 10122, Turin, Italy, mail:

massimiliano.caldera@beniculturali.it
Daniela Russo attained a multidisciplinary course in conservation of paintings on several
In 2019, the CCR Foundation completed a complex conservation and restoration project in materials obtaining a specialist diploma in conservation and restoration of stone materials
the Sala dell’Alcova, one of the most representative rooms of the noble apartments of
and derivatives, decorated surfaces of architecture (1997, Regional School for the 18
Palazzo Chiablese, a Savoy residence in the historic center of Turin. This paper aims to
valorization of Cultural Heritage of Botticino, Brescia, Italy). She worked on sites (1997 –
illustrate the results of the diagnostic campaign, the problems that emerged and the choices
2005) covering leading roles and coordinating working teams. Since 2006 she has been
made during the intervention, paying particular attention to the phase of aesthetic restitution
of the polychrome wood “lambriggio” embellished with panels painted with floral motifs by working at the CCR "La Venaria Reale" as a specialist conservator and as lecturer in the
Michele Antonio Rapous and workshop in the second mid18th century. master’s degree Course in Conservation of CH at the University of Turin. Since 2013 she is
The radical changes in the intended use of the environment during the nineteenth century, the head of the Project Management and Tender department. She is the in-charge person
associated with the destruction that occurred in the Second World War, left indelible wounds for the management of external conservation and restoration sites.
on the painted artifacts. In particular, the panels have undergone repeated maintenance and
restoration interventions such as to conceal, in some cases, the eighteenth-century
paintings, creating a strong sense of visual discontinuity.
The pictorial integration activity included diversified technical solutions, modulated according
to the specific problems encountered: small pictorial retouching alternated with extensive
reconstructions based on historical photographic documentation and on direct comparison
with the decorative elements still intact in the most preserved panels. In compliance with the
conservative history of the artifacts, having evaluated the compendiary character of the
paintings and their being part of a wider decorative program, an overall recovery project was
developed aimed at the search for a new aesthetic unit capable of coherently communicating
with the remaining fixed furniture and mobile environment.
 Retouches with history – conservation of The Sacred Heart
of Jesus by Adolf Duszek and its authorial post-WWII
restoration
Paula Karina Śwituszak(1), Alina Tomaszewska-Szewczyk(2)
the lack of adhesion between support and a paintlayer or ground. Here the solution was to
apply paints based on synthetic resin – Paraloid B-72, with a mixture of two glycol ethers
solvents (1-methoxy-2-propanol and di(propylene glycol) methyl ether. This presentation will
describe and discuss this method in detail, as well as emphasize the advantages of that
choice in preserving a painting created on the metal support.

(1)Doctoral School of Humanities,Theology and Arts - Academia Artium Humaniorum, BRIEF BIOGRAPHY
Nicolaus Copernicus University in Toruń, Collegium Humanisticum, W. Bojarskiego 1, 87-
Paula Karina Śwituszak
100 Toruń, Poland; paula.swituszak@doktorant.umk.pl, ORCID: 0000-0003-2476-7401

(2)Department of Conservation and Restoration of Architecture and Sculpture, Faculty of

Fine Arts, Nicolaus Copernicus University in Toruń, Sienkiewicza 30/32, 87-100 Toruń,
Poland; alina.tomaszewska-szewczyk@umk.pl, ORCID: 0000-0002-5334-1592

WWII left a great proportion of cultural heritage in Middle-Eastern Europe damaged. In the
immediate aftermath of the war there was no necessary expertise, manpower or resources
to deal with such complex and total conservational challenges. Artists and craftsmen took to 19
preserving and repairing the most darling objects of local heritage, leaving to us not only their
original works, but also visible marks of the fight to preserve them. Today we are faced with
the task to preserve the multilinear story behind those objects - their original body, wounds
and bandages, showing the next generations both the art of creation as well the art of
restoration. A great example of such a conservation effort is the story of The Sacred Heart Graduate of Art Conservation and Restoration with specialization in Restoration of Paintings
of Jesus, painted in 1924 by Adolf Duszek. The image of Christ was made as a typical altar and Polychrome Sculpture, Department of Arts, Nicolaus Copernicus University in Toruń. In
painting created on a metal support, for a local parish in Poland, by a professional artist.
2018 she defended her thesis on the subject of the 16th-century Clock Face, which was
During wartime the image deliberately received multiple gun shots, which strongly damaged
written under the supervision of Joanna M. Arszyńska, PhD, (artistic and conservation part)
the painting. Fortunately the author - Adolf Duszek - survived the atrocities of war, and in
and Professor Justyna Olszewska-Świetlik (research and theoretical part). President of the
1950 decided to repair the painting by lining metal patches, filling the bullet holes and
precisely reintegrating the paint layer with oil-paint retouches, which now can only be Art Conservation-Restoration Association (2014–2018) and initiator of Draper’s Astrograph
identified by UV lighting. The author himself tells this story on the back of the painting with Conservation Project. She is also a 3rd year Chemistry student at NCU, Toruń. Her recent
a meticulously calligraphed note - clearly stating the names and dates. After 72 years, some field of interest is focused on paintings created on various metal supports.
of these authorial retouches and overpainting made with oil are still of a high quality. Here
begins the story of recent conservation. The main conservational issue concerning retouches
was to keep my intervention very gentle, so as not to remove even a piece of overpainting,
even though this could appear an unorthodox idea. Considering that the piece is made on
metal support it is also a challenge to choose a proper paint to reintegrate areas where, after
many years, mechanical defects off paint have appeared. Metal supports are well known for
When retouching was an artist’s profession in photography
Catarina Cortes Pereira
BRIEF BIOGRAPHY
School of Arts, CITAR, Portuguese Catholic University, Porto; CICANT, Universidade
Lusófona. ccconservacao@gmail.com
Catarina Cortes Pereira
This presentation focus on a research on retouching techniques on photography dry plate
negatives from various Portuguese collections. The information uncovered gives insight into
visual culture, the importance of retouching, and how conservation treatments can erase
precious elements from a less-known part of photography history; the history of photography
retouching. The selected collections centered mostly on portrait photography as it is the one
type of image more systematically retouched. Each collection was surveyed, and the
purpose and intention of retouchings were documented. It was also reviewed the past and
current conservation practices at National institutions. The findings show that retouching
photography was not a practice done by lesser photographers as sometimes mentioned in Conservator-restorer of works on paper and photographs, with her private practice studio at
history books, but an established practice since the birth of photography and to this day. The Catarina Cortes Conservação in Porto (www.ccconservacao.com). Presently waiting to
surviving negatives collections do not have the final image, the final intention of the defend her Ph.D. thesis on the retouching of dry plate negatives, research with the support
photographer. But they give insight into the photographer’s process, intentions, and how of Fundação para a Ciência e Tecnologia of Portugal, Ph. D. fellow grant (ref.: 20
retouching shaped the perception of the pictorial image. It will be shown how current SFRH/BD/116315/2016). Integrated researcher at CITAR, School of Arts, of Universidade
conservation practices can overlook the problem of retouched photographs. And how simple Católica Portugesa and colaborator with CICANT, of Universidade Lusófona. Recent
established procedures, such as cleaning or digitizing, dismiss it entirely as an adulteration, research interests are photography, conservation advocacy, and the representation of
and so something to be erased. The project concludes that retouchings of all types are part cultural objects’ materiality in a digital world.
of the object and part of the image. And there is a need for the practice to be understood by
conservators, art historians, and stakeholders to preserve collections better. Furthermore, in
this digital age, where photography, everywhere, exists in virtual format, recover a forgotten
history of photography and the value of the photographic object.
 Restoration of polychrome wood sculpture: a case study
with highly weakened polychrome
BRIEF BIOGRAPHY
Juliana do Amaral Leopaci (1), Fernanda Bredariol (2), Mariah Boelsums (3)

(1) Atelier de Conservação e Restauro de Obras de Arte São Jorge, Portugal Juliana do Amaral Leopaci
(2) AVD Arte & Restaurações, Brasil
(3) Department of Culture and Creative Economy of the Federal District, Brasil

The present work is a case study of a polychrome wood sculpture, authored by Juliana do
Amaral Leopaci (ACROARTE/Azores/PT), Fernanda Bredariol (FB Conservação e
Restauro/BR) and Mariah Boelsums (Secec-DF/BR). The work is a representation of Jesus
crucified, belonging to the Chapel of Nossa Senhora da Glória, located in the district of
Ressaca/Carandaí, Minas Gerais, Brazil and was in a poor state of conservation, especially
the polychromy, which was very fragile, and the aesthetic reading of the work was also Juliana do Amaral Leopaci works at the Atelier of Conservation and Restoration of Works
impaired. Therefore, four important points were considered that support the proposed of Art São Jorge, Azores, Portugal and is a cultural property restorer, Historian and Brazilian.
treatment: stability, reversibility, aesthetic legibility and the potential unity conceptualized by All the formation has been realized in Brazil. Graduated in History from Paulista State
Cesare Brandi, who aimed at the stability of the material that would guarantee the potential University "Júlio de Mesquita Filho"/SP.Technical in Conservation and Restoration
21
unity of the work without creating false historical and artistic. Such points are directly linked (specifically of painting, wood and paper) from the Ouro Preto Art Foundation/MG,
to the modern techniques and resources used, as well as the intention to maintain the Technologist of Conservation and Restoration (of architecture) from the Federal Institute of
integrity and authenticity of the work. Added to this, the proposed intervention was to Minas Gerais and Postgraduate in Museography and Cultural Heritage at the University
preserve its characteristics and ensure its attributed cultural value and its use value. The Center Claretiano.
entire polychrome treatment process was of great importance to acquire its stability, but the
aesthetic reading was only possible with the solution of filling in the gaps completely due to
the typologies of these gaps. And finally, the technique used for the chromatic reintegration
was the pointillism, aiming to be distinguishable, being recognized when seen up close and
imperceptible from a distance. Therefore, the presentation will mainly address the treatment
of polychrome sculpture and, mainly, demonstrate the importance of chromatic reintegration
to insert and ensure aesthetic legibility and a potential unity of the work, without creating a
historical and artistic falsehood.
 With a little help of my friends. A hopeful educational 1. Recognisability: the pictorial restoration must always be easily recognizable (adapting
this characteristic to the different works and different situations, also using modern
methodology on retouching for conservation-restoration technologies);
students on wooden sculpture 2. Reversibility, that is, the retouching is easily reversible without risk for the original work.
The suggested methodology will thus be a useful tool for structuring good foundations for
Francesca Tonini future conservators-restorers in wooden sculpture, so that they contribute to work on the
cultural heritage that involves not only tangible aspects but also emotional, ideological and
above all identitarian meanings. A small seed today can grow a large tree tomorrow.
Bologna University, Urbino University, Accademia Belle Arti Como Adjunct Professor,
francitonini@gmail.com

Is it possible to design an educational protocol for wooden sculpture integration - structural

and pictorial - to be used in conservation schools? Is it possible to mix and match the BRIEF BIOGRAPHY
theoretical foundations by Cesare Brandi - internationally recognized - with the new theories
of Muñoz Viñaz for a new ethics of restoration, passing through the suggestions of Paul
Philippot - pupil of Cesare Brandi, the first to deal with the restoration of wooden sculpture? Francesca Tonini
The question on retouching in Italy has always been a topic of debate, and the link with
Brandi's theory continues today very strong, sometimes precluding the possibility of a
development that necessarily should exist, to adapt to new times and to new sensitivities
towards cultural heritage. On an international level, new issues are now being evaluated: 22
cultural heritage is no longer considered an élite asset, but an integral part of the experience
of every member of society, and the conservation decisions should not be imposed, but
agreed upon between affected subjects. Addressing all these aspects in a conservation
school is not easy, but it is still essential to find a method that allows students to acquire solid
foundations, and then deepen the different aspects of the question. In my conservation Francesca Tonini is graduated in Restoration of Easel paintings and Wooden sculpture,
courses on wooden sculpture, thanks to the continuous fruitful debate with Italian and foreign and in Conservation of Cultural Heritage with a thesis on baroque wooden sculpture.
colleagues, I was able to develop an educational project which - in my opinion - is a useful
Member of ICOM-cc and Assistant coordinator of the SPAD Working group Sculpture,
approach tool. The project is based on three fundamental pivot points:
Polychromy, and Architectural Decorations, she cooperated as Consulting Advisor at the
1. Knowledge of the execution techniques and the constituent materials of the works, by
Projecto Retablos - Conservation of Wooden Polychromed Altarpieces with the Getty
the study of the technical history of art, and the laboratory practice for the experimental
knowledge of the various executive techniques, from painting to gilding; Conservation Institute in Los Angeles and the Instituto Andaluz del Patrimonio Historico in
2. Study of the fundamental principles of the theory of restoration: from Cesare Brandi, Seville. Member of the RECH Scientific Committee - Retouching of Cultural Heritage; she
passing through the in-depth studies dedicated to wooden sculpture by Paul Philippot, frequently serves as reviewer for professional international journals. She takes part in
arriving at the current considerations of Muñoz Viñaz; various international conferences, seminars and workshops as a speaker. As an editor she
3. Practical experiments of the various techniques of pictorial integration (hatching, has written many essays and articles on the study and restoration of wooden sculpture. In
chromatic selection, selezione effetto oro, dots, mimetic retouching), of the various 2015 she published the handbook “La scultura lignea. Tecniche e restauro. Manuale per
materials for retouching (watercolors, tempera, varnish colors, micaceous), and of the allievi.
protection finishes.
In all situations the basic theoretical principles are:
Recovery of a severely deteriorated painting: The
Martyrdom of Saint Sebastian by Giovanni Santi

Melissa Ceriachi, Info@melissaceriachi.com BRIEF BIOGRAPHY

This contribution examines a painting on wood: The Martyrdom of Saint Sebastian, by

Giovanni Santi. This work of art is the altarpiece of the chapel dedicated to the saint and it Melissa Ceriachi
was originally located in Urbino's Church of San Bartolomeo. The history of this work of art
is inextricably linked to that of its conservation: initially, the artwork was difficult to read due
to the serious state of deterioration of the paint layer, with a loss of significant portions of the
painting, including pictorial parts that played a decisive role in the rendering of the image.
This had significant implications when it came to choosing the methodology for the pictorial
reintegration of the painting. The aim was to reduce the negative effects caused by the state
of deterioration as much as possible, to improve the readability of the work.
Following a conservative restoration of the panel and of the polychromy, and after submitting Melissa Ceriachi has been involved in the conservation and restoration of antique and
modern paintings on canvas and wood for over twenty years. She is based in Moie di Maiolati 23
it to art historian officer for a careful and close evaluation, a differentiated pictorial
reintegration of the work was planned, applying the Florentine “selezione cromatica" method Spontini (Ancona, Italy), where she works in her highly specialised workshop provided with
for the main figure, Saint Sebastian, and for all lacuna treatments. a fully equipped carpentry that allows her to follow all the work phases. She also deals with
the handling of art collections and their arrangement. She works at the School of
This intervention was carried out using three pure colours of choice, maintaining a tone of
Conservation and Restoration of Cultural Heritage of the University of Urbino – DiSBEF. She
brilliancy and chromatic vivacity similar to the painting by Santi. achieved the title of Restorer of Cultural Heritage at the Opificio delle Pietre Dure (O.P.D.)
The other parts of the painting had been very seriously damaged due to irrecoverable losses in Florence.
and can no longer be reconstructed; these were treated by experimenting with the chromatic
abstraction reintegration with tonal variations within the layers of abstraction. The method
involves the application of a cross-hatching where no shape is reconstructed, in a four-colour
scheme (yellow, red, green/blue, black), with the components carefully graduated to obtain
the average colour value of the painting. In this case, we chose to experiment with three
tonal variations of abstraction within the predominant polychrome areas: 1st - the landscape
with executioners and the crowning angel; 2nd - the mourners in prayer and the emperor;
3rd - the sky.
 Retouching a Retouched Painting auxiliary technique was used. The desired texture was found when testing Paraloid-based
gels on a mock-up and applied to bring continuity the surface texture in these areas of the
Evaluation and re-treatment of historic retouchings in the painting. With this approach we intend to meet the conservation needs of the object, restore
conservation of a painting by Lavinia Fontana the legibility of the image and retain the evidence of the historic intervention of this founding
team of Italian restorers at the National Gallery of Ireland.

M. Canavan (1), L. Marcattili (2)

BRIEF BIOGRAPHY
(1) Paintings conservator at the National Gallery of Ireland, Dublin. Mcanavan@ngi.ie
(2) Project paintings conservator at the National Gallery of Ireland, Dublin.

Letizia.marcattili@outlook.it

A major conservation and research project on The Visit of the Queen of Sheba to King
Solomon by Lavinia Fontana was completed at the National Gallery of Ireland in Dublin in
2021. The painting, a large-scale oil on canvas (256 x 325 cm), was one of a number of
pictures restored in the late 1960s by a team of conservators from the Istituto Centrale del
Restauro in Rome, who came to Dublin during the establishment of the first conservation
studio at the Gallery. The visiting restorers brought novel ideas and materials with them from
the Istituto that would shape the Irish approach to conservation for decades to come. The
24
prevailing ethos at the time in Italy was based on a minimal intervention approach with the
use of novel, synthetic materials that had not yet been introduced to the collection of the Maria Canavan is an accredited Letizia Marcattili is a paintings and wooden
National Gallery of Ireland. The painting, after treatment by the Istituto team, recorded paintings conservator (A-ICRI) working artefacts conservator. After finishing her
material evidence of a particular moment in the development of conservation in Italy and at the National Gallery of Ireland. She conservation degree at Istituto di Restauro
Ireland. Large areas of historic loss and damage across the surface of the painting had been trained in paintings conservation at delle Marche, Italy, in 2017, she started to
reintegrated by the Italian restorers with the application of retouchings in the tratteggio style, Northumbria University, joining the gain experience working in private studios
using a Paraloid-based medium. In some cases, portraits and other significant details in the
gallery conservation department in 2010. and public institutions, treating a variety of
image were fully reconstructed by the retouchings. Underlying instability required the
She has recently completed the “Lavinia artworks spanning from easel paintings to
removal of some of these retouchings during the most recent treatment, but others could be
Fontana conservation and research frames and wooden sculptures. She took part
retained if desired. With the help of archival images and documentation, a decision-making
model was developed to evaluate the quality and historic value of these retouchings and to project” and has a particular interest in in conferences and a selection of her papers
determine which to preserve, which to modify and which to remove. Reduction of retouchings conservation of the work of women have been published in conference
often necessitates replacement, and the partial preservation of the historic retouchings artists. proceedings of different international
brought further factors to bear on the decision-making model for the chromatic reintegration conservation Institutes in Europe. From 2019
of the painting. A return to the tratteggio technique was chosen for the larger instances of to 2021, Letizia was the dedicated project
loss compensation in the treatment, albeit with a finer hatching so that the newer conservator for the “Lavinia Fontana
reintegration remains distinguishable from the historic one. This was complemented with a conservation and research project” at the
pointillist technique over textured fillings for smaller and shallower losses. Furthermore, National Gallery of Ireland in Dublin.
where blistering and heat damage in the paint layers resulted in uneven topography, a third
 Mapping losses on a mural painting: a case study traditional orthophotography does not apply to barrel vault ceilings. A possible solution to
solve the problem of this type of record is to use some UV mapping techniques, commonly
with a barrel vault ceiling used in computer graphics (CG).

Frederico Henriques (1); Ana Bailão (1), (2); Ana Bidarra (3), (4), (5); Pedro Antunes (3)

(1) Universidade Católica Portuguesa, Centro de Investigação em Ciências e Tecnologias

das Artes (CITAR), Escola das Artes, Rua Diogo Botelho, n.º 1327, 4169-005 Porto, BRIEF BIOGRAPHY
Portugal; fhenriques@ucp.pt
(2) Universidade de Lisboa, Faculdade de Belas-Artes, Centro de Investigação e de Estudos Frederico Henriques
em Belas-Artes (CIEBA), Largo da Academia Nacional de Belas-Artes, 1249-058 Lisboa,
Portugal, ana.bailao@gmail.com;
(3) Cinábrio - Conservação e Restauro; Rua Almirante Cândido dos Reis, Nº 28, 3º T 3800-

096 Aveiro, Portugal, cinabriocr@gmail.com;

(4) Universidade de Aveiro; GeoBioTec Research Centre, Campus Universitário de Santiago,

3810-193 Aveiro, Portugal, bidarra.ana@gmail.com; Frederico Henriques is a conservator-restorer with a PhD in Painting Conservation (2013)
(5) Tecn&Art - Tomar Polytechnic Institute, Quinta do Contador, Estrada da Serra, 2300-313 from the Portuguese Catholic University (UCP). He was awarded a grant by the Fundação
Tomar, Portugal para a Ciência e a Tecnologia (FCT) and had the support of the Instituto Superior Técnico
25
(IST) to develop his research. In 2014, on an exclusive basis, he started his post-doctoral
work as an FCT grant holder. His research unit is the Research Center in Science and
Technology of Arts (CITAR), Catholic University of Portugal. He was a collaborating
The operation of documenting a pictorial surface before, during, and after a conservation researcher at the Laboratory HERCULES, the University of Évora and at the Research and
and restoration intervention is standard in current conservation-restoration projects. Study Center in Fine Arts (CIEBA), Faculty of Fine Arts, University of Lisbon. His research
However, not all pictorial surfaces are easy to document. To registry the losses, it is essential
focuses on Digital Documentation and Spatial Analysis of Cultural Property
to have an orthophoto of the surface or convert the non-plane axial surface into a plane. For
the digital documentation project of a mural painting made in a barrel vault ceiling of the
Igreja da Misericórdia de Murça in Portugal, the pathologies of the pictorial surface were
registered with digital processing techniques. To registry the losses of this ceiling, it was
necessary to combine a traditional photographic acquisition process with images acquired
by drone. After obtaining the images, a three-dimensional model of the barrel vault ceiling
was created using photogrammetric techniques, and the plane was folded using computer
graphics procedures (UV mapping).This process allowed the mapping of losses without
resorting to image distortion techniques, such as the ones available on "Photoshop" (a non-
geometric mode) that has been used in conservation and restoration to solve problems of
this type. In addition to obtaining a flat surface image with quality with less distortions, we
also attained a 3D model. In this 3D model, it was also possible to see several warping of
the walls and register some cracks in the surface through a hypsometric map. In conclusion,
it is crucial to bear in mind that a flat surface image must be used for map losses and that
 Documenting two retouching processes
in a French Louis XV Cartel
Agnès Le Gac (1),, Sara Fragoso (1),, João Rodrigues, Sara Valadas (2), Ana Margarida Cardoso (2),
António Candeias (2)
(1) Nova School of Science & Technology, Department of Conservation and
Restoration, alg@fct.unl.pt
(2) Universidade de Évora, Laboratório HERCULES e Cátedra CityUni Macau on
Sustainable Heritage.
This paper involves examining two restoration interventions applied to a Louis XV Cartel, a
pendulum clock made up of a clock case and a supporting bracket, known as «Cartel en
corne verte». As its name implies, it is a French cartel richly decorated with green horn
laminate, which includes brass inlaid, and chiseled and gilded bronzes. The mechanism,
dully signed, is a work by Claude du Grand Mesnil (1700-1756), a renowned clockmaker of
André-Charles Boulle (1642-1732). This cartel, which has not been attributed to a specific
cabinetmaker, refers to the late Boulle pendulum clock design and curved shapes, produced
for the early eighteenth-century French taste. The pendulum clock has come into the
Department of Conservation-Restoration, Faculty of Science and Technology of the NOVA
University of Lisbon, in Caparica, to be restored, at the request of its owner, a private
collector. He inheritated this Cartel from his family and knows very little about its history over
time. However, the cartel has already undergone a fairly extensive restoration in the past,
that immediately reveal several aspects: the aging of certain darker colored surfaces, the
heterogeneous shine of the gilded bronzes compared to that of the inlaid brass, and an
incomplete filling gap of color, let uncovered (with no horn laminate application over it).
Regarding decisions taken in a private context, this case-study allows us to focus on
retouching issues, directly related to the aesthetic relationships created between the
materials present, the original optical effects produced with the use of horn laminate, the
levels of chromatic retouching/inpainting and brilliance chosen to relate to the particular
colored scheme, in the past and in the current intervention. As a primary source of
information, the Cartel has first been studied in order to better understand the materials used
--original and subsequent--, the early implemented restoration process and the type of
retouching performed to integrate the missing elements and the contribution of new materials
as well.
Several imaging techniques were carried out: Digital Photography with different types of
illumination and under different radiations; Digital microscopy Dino-Lite; Optical microscopy;
Scanning Electron Microscopy (SEM). Elemental and molecular analyzes of the materials
present were made by SEM-EDS and ATR-FTIR, respectively. The results obtained
confirmed the use of horn, Prussian blue and a natural resin for the original coating; and
synthetic materials, in particular chrome yellow and a nitrocellulose varnish, for the
retouching process. These reliable dating elements help affirm that the restoration took place
from the second third of the 20th century onward and not before. Our approach also has in
view to discuss the choices made at present in an attempt to both respect and reconcile the
appearances/discrepancies of the Cartel since its creation, namely the local application of a
patina. Challenges dealing with the current state of conservation of the cartel, the transludity
and polishing of the horn, a crucial lacking part of this coating, and the different level of shine
of the metallic ornaments --the inlaid brass and gilded bronzes--, will be addressed.
BRIEF BIOGRAPHY
Agnès Le Gac 26
Graduated in Art History and Conservation and Restoration of Heritage, in France and
Belgium, between 1979 and 1987. Founding member and first President of the ARP-
Associação dos Conservadores Restauradores de Portugal (1995-1997); Founding member
and Member of the Board of the Encore-European Network for Conservation-Restoration
Education (1997-2003); Member of the Installing Commission of the Conservation and
Restoration Department of FCT-NOVA (1998-2004). Teaches at DCR (FCT-NOVA) since its
creation in 1998. Phd in Conservation and Restoration (2009), she is Assistant Professor at
DCR (FCT-NOVA) and Research Member at the Libphys-Laboratory of Instrumentation,
Biomedical Engineering and Radiation Physics, Department of Physics (FCT-NOVA).
 Adapting and evolving the traditional technique of egg
BRIEF BIOGRAPHY
tempera retouching at the Hamilton Kerr Institute
Christine Braybrook
Christine Braybrook

Hamilton Kerr Institute, University of Cambridge, UK. cmp62@cam.ac.uk

This paper discusses the traditional retouching method of egg tempera, which, amongst
other retouching techniques, remains a practised and taught method at the Hamilton Kerr
Institute (HKI). It has been adapted since its introduction to Britain by Herbert Lank (the first
director of the HKI), who refined the technique from egg tempera retouching forerunner,
Helmet Ruhemann. Today, with the unavailability of MS2A (the preferred isolating resin for
egg tempera retouching, as established by Lank), the method has again evolved and Christine Braybrook is an ICON accredited conservator with a BA in Fine Art Painting
adapted. Both Laropal A81 and Paraloid B72 have been successfully used as the isolating (Brighton University, 2002-2005) and an MA in the Conservation of Easel Paintings
resin, however, they were never as successful as MS2A. Frequently, subsequent (Northumbria University, 2007-2009). From 2009 – 2011 she was an intern at the Hamilton
applications of the isolating resin (Laropal A81) activate previous applications causing Kerr Institute (HKI), University of Cambridge. Since 2011, she has been employed as a
pigment pickup and interrupting the applied tempera layers. This can be controlled with conservator at the HKI where she is a studio conservator and supervisor to postgraduate
smaller losses, but large lacunae are problematic. One problem is the requirement to brush students and interns. She has published on technical studies, imaging in conservation, and
the isolating resin multiple times to aid the saturation of the inherently lean paint layer, but 27
has recently explored the influence human visual perception has in conservation, particularly
after one or two passes this results in disruption of lower tempera layers due to reactivation the interpretation of images.
of the previous resin application/s. At the HKI, the typical diluent solvent for the Laropal A81
varnish is a 50:50 mixture of Shellsol A100 and Shellsol D40. By means of limiting the
amount of brushing required to achieve an adequate saturation level (for the isolating resin
layer used in egg tempera retouching) a variety of concentrations were tested, however none
proved successful. A literature review of Laropal A81 suggested other potential diluents, one
of which was Cyclooctane. Cyclooctane, an aliphatic hydrocarbon, has the added benefit of
being less toxic compared to Shellsol A100 and can be worked more on the surface before
the activation of lower layers becomes problematic. This paper will demonstrate this adaptive
method of egg tempera through a case study of a 16th century panel painting with large
losses perfectly suited to egg tempera. Cyclooctane is now the preferred diluent solvent for
isolating layers with Laropal A81 resin, and no doubt the method will continue to evolve as
the availability and desirability of materials change.
 The retouch of golden surfaces in extreme conditions: the BRIEF BIOGRAPHY

case of the Main Altarpiece of the church of Concha,

Guadalajara
(1) Trinidad Llinares Román, (2) Alejandra Navarro Quiles

Universitat Politècnica de València, trinillinares@gmail.com, alnaqui@upv.edu.es

In this case, the first part of the restoration started in the summer of 2018. There were carried
out all the general processes of a restoration in a work of art like this one, included the
chromatic retouch. One year later, during the second phase of the restoration of the
altarpiece, after various organoleptic tests, it was determined that the chromatic retouch that
was done the year before with watercolours remained stable. Conversely, the retouch done
with mica powder amalgamated with touch-up varnish faded to the touch, despite it had been
varnished. It was then hypothesized that the varnished used, either as binders or as Trinidad Llinares is Graduate in Fine Alejandra Navarro has a degree in
protection, were not able to resist cold winter temperatures that can reach up to -20 º C. Arts specialized in conservation and Conservation and Restoration of
Then, after careful evaluation it was decided to modify the retouch system using accessible restoration of art, and a Master’s Cultural heritage specialized in easel
Degree in the same area, both on the paintings, and a master’s degree in 28
materials (because the isolation of the area makes impossible the quick access to another
products) and, in this case, it was implemented a new system that takes advantage of the Universitat Politècnica de València. the same area awarded by the
stability of the tragacanth gum as a binder. The method and the technic used were very Since 2010 she has done internships Universitat Politècnica de València
suitable visually to give back the correct lecture to the altarpiece, what it was one of the at various institutions and museums. (UPV). In 2017 she started to work as
premises that was pursued taking in to account the context and the necessities of the users. In 2014, she began to work as a a freelancer in restoration works
Moreover, these materials shown a great resistance to the climatic deterioration factors to freelancer in restoration works, and collaborating too with the restoration
which the altarpiece is exposed. also collaborated with the restoration department of the UPV. She’s
department of the Universitat currently doing her doctoral thesis in
Politècnica de València in summer this university.
internships like a works manager.
 A new pigmented wax-resin formulation for infilling and paintings as case studies. The two case studies, although very different both in their
materiality and their age had one common problem that made them ideal candidates for
reintegrating losses in paintings: testing its applicability in testing the selected PWR formulation: both presented several losses that needed to be filled,
two case studies textured, and retouched. The fact that they were different – one was a four-hundred-year-old
oil painting on a linen canvas and the other was a modern acrylic painting on a commercially
prepared cotton canvas – proved very useful for testing the versatility of the new PWR
Catarina Rocha Pires (1), Leslie Carlyle (1), Kate Seymour (2), Susana França de Sá (1,3) formulation. In addition, the type and size of the losses present made it possible to test
(1)Department
different application techniques. Results verified the usefulness of the formulation both as a
of Conservation and Restoration, NOVA School of Science and
base for infills and as a material that does the infill and reintegration of a loss in one single
Technology, 2829-516 Caparica, Portugal
(2)Stichting Restauratie Atelier Limburg (SRAL), Maastricht, The Netherlands
step. The ability of the PWR formulation to be accurately coloured, receive texture, adjust
(3)LAQV-REQUIMTE, NOVA School of Science and Technology, 2829-516 Caparica,
the surface to either matte or gloss proved its versatility and ease of use. The results of the
research were very promising and the PWR formulation has proven to be a good alternative
Portugal, *cn.pires@campus.fct.unl.pt
to other infilling and reintegration materials and methods already in use by paintings
conservators.
Abstract: Pigmented wax-resin (PWR) formulations have been used to infill and reintegrate
losses in paintings at least since the 18th century. These formulations consist of mixtures of
a wax and a resin, to which an inert material (such as chalk) and/or pigments are added. The
possibility of adding pigments directly to the mixture is one of the biggest advantages of the
BRIEF BIOGRAPHY 29
material for it enables infilling and colour reintegration to be done in one single step. PWR
infills can also be textured and sculpted (e.g., to recreate surface features such as
Catarina Rocha Pires
brushstrokes) and are easily removable mechanically or with solvents. One of the most
common materials present in traditional PWR formulations, produced either by conservators
themselves or, more recently, by Gamblin Conservation Colors, is beeswax. Beeswax can
develop blooming (a thin whitish layer on the surface that changes its appearance and
readability) and can corrode metal supports. Finding an appropriate replacement material for
beeswax, which could be combined with a stable synthetic resin, became the focus of recent
studies conducted at FCT-NOVA (Lisbon, Portugal). The most promising results were
achieved by combining Cosmoloid H80 microcrystalline wax and Regalrez® 1126 Catarina Rocha Pires holds two heritage-related bachelor’s degrees: the first one in
hydrogenated hydrocarbon resin. The next step, finding the most successful formulation for Sciences of Art and Heritage from the Faculty of Fine Arts (University of Lisbon) and the
a new PWR and confirming its suitability to form an inert and stable material, with good second in Conservation and Restoration from the NOVA School of Science and Technology.
physical, optical and handling properties, was the aim of the most recent research project In 2019, she started developing her master’s dissertation, during a 9-month internship at the
which is discussed here. The first part of the research (reported elsewhere) focused on Stichting Restauratie Atelier Limburg (Maastricht, The Netherlands). The dissertation,
characterising the PWR formulations containing Cosmoloid H80, Regalrez® 1126, pigments entitled “Investigation on the applicability and stability of a new pigmented wax-resin infill
and inert fillers. The properties and stability of the best performing formulation was tested formulation to be used in the conservation of paintings” was submitted in September 2021.
under different environmental conditions. Research included compatibility to varnishes and Her main interest is in research related to paintings conservation.
inpainting media and their solvents. The second phase – which will be the focus of this paper
– aimed at realistically testing the applicability of the formulation using two deaccessioned
 The importance of painting copy and mock-ups
BRIEF BIOGRAPHY
In retouching process
Maja Sučević Miklin
Maja Sučević Miklin

Conservator-restorer, Assistant Professor at Department of Conservation and restoration,

Academy of Fine Arts in Zagreb, maja.sucevicmiklin@gmail.com

Abstract: In the curriculum of the Department of Conservation and Restoration of Art at the
Academy of Fine Arts in Zagreb, Croatia, in the fourth year of study, the course "Painting" is
focused on copying paintings that are in the process of restoring. Thus, students have the
opportunity not only to get closer to the original but also to analyse the technological layers,
feel the material, and look at the back of the painting, all of which could be difficult if copied
according to the template or in a gallery. The copies that students make are both visual and Maja Sučević Miklin specialized in paintings on different supports and polychrome wooden
technological copies, focusing altogether on understanding the paint application and colour sculpture. She worked as an external associate in the Croatian Conservation Institute's
theory, artist’s brushstroke, painting techniques, composition, materials and methods used Departments of Polychrome Wooden Sculpture and Easel Painting from 2012 to 2020. From
in the making of the original painting. Focusing both on visual and technological approaches 2021, she works as an external associate at the Academy of Fine Arts in Zagreb in the
makes a good educational tool for students. Gained experience can be useful in future Department of Conservation-Restoration of Works of Art; she currently works as an 30
restoration work, in all phases of layer reconstructions, especially in paint layer Assistant Professor holding lecturers in painting copy. She actively participates in
reconstruction that uses mimetic inpainting. Reconstruction of the paint layer – the layer that conferences, workshops and writes articles (ICAR the journal, GE-IIC, Archetype
is, in general, the most unique part of a painting – can be challenging for both an experienced publications). She is the secretary and a very active member of the Croatian Conservation-
restorer and especially a student. The mimetic inpainting mimics the artist’s original colour Restoration Association.
palette and texture of the painting (that includes the texture of the canvas, preparatory layer
and paint). The restorer, when doing mimetic inpainting, needs to copy the texture of the
original ground and the chromatic value of the original.The successful preparation for
mimetic inpainting can be done if the original way of making the painting is researched and
understood and then modified to the use of restoration materials and methods that include
high quality standards and reversibility. Experienced restorers sometimes use mock-ups to
test their fillers and methods of retouching, which is similar to the copying process but deals
only with a certain challenge that needs to be addressed. On the other hand, copying all of
the painting's layers – the materials and painting technique – is a complete process that
experienced restorers do not need or have the time to carry out, but for students, the copying
is a thorough practice of manual skills, painting methods, and materials that will be useful in
the process of mimetic inpainting. Examples of mock-ups done for testing the retouch and
the process of copying will be shown – with an emphasis on ground and paint copying, and
how the experience gained from the copying process can be helpful in the retouching
process in general and in the education of the future conservator-restorers.
 Problems of integration in polychrome wooden sculpture,
examples of repairing gaps on large-sized, very incomplete
artworks
Sara Menon
Restorer of Cultural Heritage in Italy, paintings on canvas, wood and wooden
sculptures, menon.s@hotmail.it
The restitution of a correct legibility in a wooden sculpture is bound by the inseparable
relationship between shape and color that characterizes it, an operation that is not easy to
solve if the gaps in the pictorial layers are particularly extensive and if, as in the cases
considered, the work it is the result of a collaboration between two different figures, the
sculptor and the painter, both of great stature and which must be taken into account in the
formal aesthetic recovery. The artworks that are illustrated were also complicated, in their
restoration, by the heavy tampering that occurred over time and by the cultic value, as they
were not musealized and object of devotion by the communities to which they belonged.
Four extreme cases will be analysed in terms of severity of tampering, vastness and type of
gaps together with the solutions adopted in their formal recovery; these are three large
wooden Venetian crucifixes, which are placed between the second half of the fourteenth
century and the second half of the fifteenth century and two sculptures from the casket of an
altar with doors.In all these works, the design of the compensation of the gaps, after the
recovery of the original facies of the artwork (with the cleaning operations), was guided by
the instances of recognition of the intervention together with the use of materials with
characteristics of stability and reversibility. The choice of the reconstructive methodology in
the pictorial integration, made using the hatching technique, was rigorous, while the
approaches to the ductus of the stucco and the superimposed hatching were changeable.
The solutions adopted in the complex recompositing of some pictorial and plastic details
were diversified, considered fundamental for the correct reading of the carved artworks,
among these the compensation of the faces, the pictorial recovery of the volumes when
designed by the painter, the formal connection of details to relief carried out in pastiglia and
finally the pictorial treatment of the restoration of the support or of intaglio additions.
BRIEF BIOGRAPHY
Sara Menon
Graduated from the Santa Paola Institutes of Mantua. Sara Menon is a restorer identified in
the sector of competence 4 (PFP2 and PFP3) relating to the qualification of restorer of
cultural heritage pursuant to art. 182 c.1bis of Legislative Decree 42/2004. Among her most
important collaborations she report:
31
- the restoration of the oil painting on wood by Giulio Romano, depicting the Holy
Family, c. 1524;
- the triptych by Bartolomeo Vivarini, depicting the Madonna with Child between Saints
George and Augustine;
- the conservative restorations and maintenance for the exhibition on Andrea Brustolon
1662-1732 "The Michelangelo of wood", Belluno;
- the painting on wood by Giambono, depicting the “earthly Paradise”;
- the tables "Visions of the afterlife" by Jeronimus Bosch.
- the restorations currently in progress of” the triptych of the nativity” and “the triptych of
S. Lorenzo” by Giovanni Bellini.
Her main activities of interest concern the experimentation of new materials and techniques
for pictorial retouching.
 Skin Matters protocol was necessary and the work was employed very carefully, also with the use of the
microscope.
Conservation Restoration Treatment of a 16th-Century The most disturbing damages were concentrated on incarnations and as our gazing
polychromed Wooden Sculpture behaviour is mostly focused on the faces and hands of a static human figure, we limited the
aesthetic reintegration to these parts. Various approaches were used. Where the original
together with overpaint layers fell off, recessed lacunae were formed and caught the light
Martina Vuga unevenly. We judged that on the faces they could not be solved only by retouching, so we
filled them first with an acrylic mixture filler. But on the hands and the Child’s body we
Academy of Fine Arts and Design, University of Ljubljana, Slovenia; retouched directly to the exposed and unfilled ground. The pointillist retouching was carried
martina.vuga@aluo.uni-lj.si out using Gamblin Conservation Colours. Apart from incarnations, lacunae that reveal the
bare wood, ground or bole layer were left visible. We varnished only a dress with worn-out
The paper presents a treatment of a polychromed wooden sculpture in which the aesthetic and locally exposed silver. Notwithstanding that the overpaint removal on some surfaces
reintegration was limited to the most damaged skin parts, but it was also determined by the
revealed just remains of the original polychromy and that limited aesthetic reintegration was
human gazing behaviour.
carried out, we believe the treatment regained and highlighted the artwork’s artistic,
In 1979, the National Gallery of Slovenia acquired Madonna and Child (161  56  17 cm),
historical, and aesthetic values. This article aims to present our decisions and results of the
dated around 1520 and attributed to the (unknown) Lower Styrian workshop. Carved in high
treatment, which are available for further assessment.
relief, it represents a beautiful Madonna with her naked son. Her very long hair is surrounded
by a veil and a crown. Figure stands on a crescent moon. She is dressed in red and donned
with a long, gilded mantle with punched trimmings and blue lining.
The main volume is composed of two blocks of wood. Analyses showed the original 32
preparation layer consists of proteinaceous binder mostly and calcium carbonate. In the BRIEF BIOGRAPHY
original flesh tone, the lead white matrix contains cinnabar and minium in oil. Water gilded
mantle is lined with azurite blue oil paint. The red dress is made of silver leaf, and hair of Martina Vuga
Zwischgold, both under translucent brown-tone glaze. Overpaints of the incarnations showed
composition very similar to the original, while garments and hair were more comprehensively
changed.
Madonna was not treated until 2015 when we reassessed its condition as stable, but
extensive area of paint loss, discoloration of old retouches and darkened coating on a gilded
mantle disrupted its visual unity and balance. Overpaintings have progressively and
significantly changed its appearance. Prior to the intervention we conducted technical
examination including X-radiography, ultraviolet fluorescence photography, stratigraphic and
material analyses. Combining results contributed to a better understanding of the original
technology, later interventions and helped us plan the treatment.
After surface cleaning we removed the darkened coating from the gilding by a rigid agar gel. Martina Vuga obtained her BA and MA degrees in Conservation Restoration from University
Although contemporary theory generally turns away from overpaint removal, based on of Ljubljana. She worked as a Sculpture Conservator-Restorer and a Head of the
careful consideration we still decided for a partial procedure: to preserve overpaints on the conservation-restoration department at the National Gallery of Slovenia from 2005 to 2020.
skin parts, but to remove them from garments and hair to reveal the sculpture’s original Since then she has been a lecturer at the Academy of Fine Arts and Design Ljubljana. She
colour scheme. We followed new methods of removing materials. A change in cleaning teaches conservation of polychrome sculpture and materials for conservation.
 Innovative approaches for the re-integration of fifteenth
century Spanish panel paintings
Kate Seymour(1), Christa Visser(2), Betlem Alapont(3), Maria Vicente(4)
(1) Stichting Restauratie Atelier Limburg (SRAL), Maastricht, The Netherlands
(2) University of Amsterdam, The Netherlands
(3) Universidad Politécnica de València (UPV), Grado en conservación y Restauración de
Bienes Culturales, Valencia, Spain
(4) Escuela Superior de Conservación y Restauración de Bienes Culturales, Madrid,
Spain
Abstract: The Suermondt-Ludwig Museum (Aachen) holds five Spanish fifteenth century
panel paintings in their collection. The five panels are all fragments, likely removed from their
original settings at the turn of the nineteenth century during the upheaval of the Napoleonic
Wars and sold on the art-market after extensive restoration. The five paintings come from
three individual altarpieces constructed by three separate workshops. Each workshop has
different working practices and materials that are steeped in the traditional artistic practice
of the period, though innovative use of new Hispano-Flemish painting technologies are
clearly present. Three of these five panels have been treated at SRAL over the past decade.
The additional two will undergo a full conservation campaign in the coming year. The
conservation treatment is carried out in collaboration with conservation students from the
University of Amsterdam and conservation training programmes in Spain. With this in mind,
a treatment protocol and procedure was devised to ensure a systematica and sympathetic
treatment for the five masterworks, including reintegration. This provided key skill-
development for the trainee conservators. The removal of non-original surface materials
revealed overcleaned and severely damaged surfaces. The integration of these surfaces
required an innovative approach to return a sense of authenticity to the artworks, individually
and as a disparate group. The subtle shift in gloss and texture between areas of paint and
gilding, between different pigments bound in animal glue, egg tempera, and oleo-resinous
glazes had been lost. The selection of conservation materials for infilling and retouching
aimed to return this ephemeral play on light to the surfaces. This paper will discuss this
innovative approach using the reintegration of one of the set of five panel paintings: the
“Adoration of the Kings” (Inventory number: GK 243) as a case study. The materials were
carefully chosen so as not to be mistaken for original materials in the future. The approach
entailed thinking out of the box and approaching the filling and retouching stages
simultaneously rather than as independent actions. This allowed a more holistic strategy to
reintegration than if all losses were filled first prior to retouching. The filling materials utilised
are based on a studio formulation consisting of a novel combination: Arbocel 500 (cellulose
fibres) bound in a mixture of Aquazol 500 (poly(2-ethyl-2-oxazoline)) and Methocel A4M
(methyl cellulose) bound in water. This mixture was used to fill deeper losses and modified
with aluminium hydroxide powder to create a surface fill. The protocol used began with
testing of the materials to find the right formulation; adaptations for the typology of fill were
incorporated into this design. The filler formulation is modified to best adapt to the specific
losses in each area of each panel. The decision not to re-varnish the panels allowed filling
and retouching to be carried out simultaneously and the different gloss surfaces of individual
paint areas to be imitated by modifying the amount of retouching binding media (Aquazol
200 dissolved in ethanol/water). The resulting appearance allows different colour and
surface finishes to retain their independent characteristics and returns a more authentic
surface finish to the fifteenth century artworks.
BRIEF BIOGRAPHY
Kate Seymour is a Head of Conservation at the SRAL.
She was the project coordinator, instructor and part of the 33
lecturing team for the Conserving Canvas Mist-Lining
Workshop hosted at SRAL in 2019. She travels frequently
abroad to give a wide variety of workshops on
conservation practice and theory to mid-career
conservators, integrating her material knowledge and
practical skills with an ability to disseminate complex
decision-making processes. Her interests include the
structural treatment of both canvas and panel paintings,
cleaning polychromed surfaces, filling and retouching
systems and varnishing systems for painted surfaces. In
addition, Kate Seymour is the current ICOM-CC Directory
Board Chair for this triennium.
Betlem Alapont is a Spanish art conservator licensed in July
of 2021 from the Polytechnic University of Valencia (UPV).
Her areas of expertise are focused in both in easel and mural
painting conservation with a special interest on this last one.
In this second discipline, she had the chance to take part on
some projects gaining progressively more experience. Those
collaborations aroused in her the will to pursue a Master in
the future specialised on this conservation subject.bDuring
this year from February to July she has undertaken an
Erasmus + program in Maastricht (The Netherlands) at the
Stichting Restauratie Atelier Limburg (SRAL). There, she had
the chance to work in several projects from a broad variety
and artwork types. The SRAL team is formed by expertise
conservators who combine their day life practice with an
educational training of students from different Universities
and training programmes. This environment provided her with
an international experience while training and letting her to be
part of diverse collaborative projects hosted at SRAL.
34

María Vicente is a paintings conservator by the ESCRBC -

School of Conservation and Restoration of Cultural Heritage
in Madrid (Spain). She is currently pursuing her Master´s
degree in conservation projects management at the same
institution. Her recent projects included working as part of the
team on the on-site conservation project for the Cathedral of
Cuenca as well as different private studio collaborations.
During her studies, she focused her thesis on 15th century
Spanish panels, bringing her the expertise to assist during her
Erasmus + internship the conservation of some of the
currently treated panel paintings at the Stichting Restauratie
Atelier Limburg (SRAL). Other research interests include the
study of traditional and contemporary artistic techniques as
well as the introduction of new technologies used in
conservation and restoration treatments and researches.
 Dyes, Paints, and Inks: An Overview of Visual
Compensation Techniques in Textile Conservation
Annabelle Camp, Kris Cnossen
Winterthur/University of Delaware Program in Art Conservation
Currently there is no single resource summarizing the different visual compensation methods
used in textile conservation. Many techniques are taught through word of mouth, and there
is a lack of literature documenting accepted options. The goal of this presentation is to
introduce common techniques, such as the use of dyes and paints, as well as a less common
method, digital printing. The authors will discuss when each option is appropriate,
addressing their respective color-matching capabilities, workability, appearance when dry,
and time and material requirements. Numerous case studies illustrating the use of these
methods, with an emphasis on painted fills, will be presented. The case studies will represent
a range of textile types, such as costume, needlework, historic and modern printed textiles,
as well as a range of materials, including silk, cotton, and wool. Case studies will include
examples of visual compensation in areas of stains, patterns, and non-woven structures.
The successes and limitations of each method will be outlined.
BRIEF BIOGRAPHY
Annabelle (“Bellie”) Camp is a National Endowment for the Humanities Fellow in Textile
Conservation with a minor in Organic Objects Conservation in the Winterthur/University of
Delaware Program in Art Conservation. Bellie graduated Phi Beta Kappa with Distinction
from the University of Delaware in 2019 with BA degrees in Art Conservation and
Anthropology and a minor in Art History. Her senior thesis, which was completed in
collaboration with the Lenape Tribe of Delaware and nominated for the Textile Society of
America 2020 Founding Presidents Award, focused on the technical analysis and
reconstruction of Native Mid-Atlantic fishing nets; it was community driven and outreach-
focused. Bellie completed pre-program conservation internships at the Winterthur Museum,
Garden & Library, the Arizona State Museum, and the Peabody Museum of Archaeology
and Ethnology at Harvard University, as well as numerous teaching assistantships in
conservation at the University of Delaware. During her graduate studies, she has completed
internships at the Colonial Williamsburg Foundation and the Philadelphia Museum of Art.
During the 2021-2022 school year, Bellie is completing her graduate studies with internships
at the Abegg-Stiftung and the Victoria and Albert Museum.
35
Kris Cnossen (they/them) is a graduate fellow at the Winterthur/University of Delaware
Program in Art Conservation, specializing in textiles with a focus in modern art and materials.
They graduated from Vassar College in 2015 with a B.A. in Art History. Pre-program, Kris
interned at the Maryland Historical Society, Mountain States Art Conservation, and Toledo
Museum of Art. Summer of 2020, Kris interned with the Robert Rauschenberg Foundation,
creating a sheer fabric identification guide called the SHEER LIBRARY, which is available
for free on their website: kriscnossen.com. Kris interned at the St. Louis Museum of Art
(SLAM) in the summer of 2021, assisting Miriam Murphy in the condition assessment,
installation, photography, treatment, and care of the textiles in the collection at SLAM.
Concurrently, Kris and Miriam assessed the use of digitally printed reproduction fabric for
use as visual compensation on historic objects. They plan on publishing their work in the
Journal for the American Institute of Conservation in 2022/2023. Kris is passionate about
outreach and sustainability, working as the Textile Specialty Group – Emerging Conservation
Professionals Network liaison from 2020-2022, and assisting with the Anoxia Lifecycle
Assessment lifecycle assessment, which can be found on the Sustainability Tools in Cultural
Heritage (STiCH) website, https://stich.culturalheritage.org/.
 Retouching mural paintings in hypogeum: preliminary raw materials, it has been possible to dissolve them in the proper solvent at the suitable
concentration. The selected products have been tested in relation to their optical properties,
study and first results wettability, vapor and water permeability, resistance to salt crystallization and bioreceptivity.
Each of these tests had the aim of simulating the behaviour of the pictorial film in hypogeus
Filippo Edoardo Capasso (1), Manuel Giandomenico (2), Sokol Muca (3), Maria Carolina environmental conditions. Some tests have been repeated after an artificial ageing process,
Gaetani (4), Sara Iafrate (5), Marco Bartolini (6), Ulderico Santamaria (7), Angela Calia (8), based on cyclical alternation of humid-cold and dry-hot exposure conditions. In addition to
Emilia Vasanelli (9), Davide Melica (10) the laboratory analyses, some in situ applications have been performed in order to verify the
behaviour of the binding media in natural environmental conditions. To do that, painted films
(1) Conservator-restorer, filippoedoardo.capasso@gmail.com of the tested binding media have been applied on lime-based mortars laid on the rocky walls
(2) Conservator-restorer, giandomanuel95@outlook.it of the hypogeum. On these samples the research group has been carrying out a monitoring
(3) Conservator-restorer, sokolmuca00@gmail.com program to verify their behaviour and possible changes in colour and morphology over time.
(4) Conservator-restorer, Istituto Centrale per il Restauro, cgaetani@libero.it
(5) Conservator-restorer, Istituto Centrale per il Restauro,
sara.iafrate@beniculturali.it BRIEF BIOGRAPHY
(6) Biologist, Istituto Centrale per il Restauro, marco.bartolini@beniculturali.it
(7) Chemist, Università della Tuscia, santamaria@unitus.it
(8) Geologist, CNR-ISPC, angela.calia@cnr.it Filippo Edoardo Capasso, conservator of stone
(9) Materials Engineer, CNR-ISPC, emilia.vasanelli@cnr.it manufacts and decorated surfaces of the architecture,
(10) Conservation scientist, Consulenza e Diagnostica per il Restauro e la received his degree from Istituto Centrale per il Restauro. 36
During the academic activities and the job experience, he
Conservazione, info@diagnosticarestauro.it
worked principally on archaeological artefacts,
developing skills on in situ conservation. In the latest
This study was carried out during the conservation project involving two of the mural paintings
years, the studies and the personal researches have
of the Saints Peter and Paul's hypogeum in Matera. Due to extensive lacunae of the painted
focused on the hypogeus context and its issues.
layers and plaster, the images were not easily readable, so that a proper reintegration
Specifically, great deal of attention has gone on the wide
program had to be studied. Retouching mural paintings preserved in such a peculiar
heritage of medieval rupestrian art, whose preservation
environment as hypogea, is not an ordinary operation. In these contexts, relative humidity
needs new methodologies and critical approach.
approximating to 100% makes hygroscopic materials less durable. In addition,
thermohygrometric changes can damage retouching materials and cause biological growth
Manuel Giandomenico, graduated student at ICR and
on them. Watercolors, extensively employed for retouching mural paintings, are ineffective
now conservator of stone manufacts and decorated
in such humid environments, so it has been necessary to find a compatible and alternative
surfaces of the architecture. Currently employed in
binding media. For this reason, before the restoration work, a preliminary laboratory research
reassembling Roman archaeological frescoes. His
has been carried out to test four different retouching media: two synthetic resins (Laropal
studies focuses on conservation methodology suitable for
A81 and Regalrez 1094) and two natural products (Funori and arabic gum) have been
medieval frescoes preserved in hypogea environments.
investigated in order to select the most suitable. Each binder has been blended with two
His interests range from executive techniques analysis to
pigments and applied in four different dilutions, in order to find out how these factors could
diagnostic investigations.
have affected the properties analysed. It has been established not to investigate commercial
binding media because they can contain incompatible additives. In addition, starting from the
 Moisture Sensitive easel paintings: A Practical Application accelerated aging in a climatic chamber where they were exposed to variations in relative
humidity and temperatures for 168 hours. Before, during and after this treatment, the stability
of filling and texturing of losses with Aquazol of the infillings was studied qualitatively and on a macro and microscopic scale in relation to
the mechanical behavior of the pictorial structure.
Daniel Morales-Martín, Antonella Magali Della Festa, Alicia Sánchez Ortiz Tests have determined the optimum qualities of this filler for leveling up losses in canvas
sensitives to humidity. In terms of its texturing properties, its ability to reproduce brush
College of Fine Art, Complutense University of Madrid, 2 Pintor el Greco, Madrid, 28040, grooves, small impastos and smooth surfaces is noteworthy. On the other hand, a fully
Spain, damora03@ucm.es; antdella@ucm.es; alicisan@ucm.es satisfactory result has not been achieved in samples of very pronounced impastos, requiring
further studies.
The correct filling of the losses in easel paintings must respect the level and texture of the
original painting structure. Over the years, different fillers of natural and synthetic origin, both
self-made and commercial, have been studied. However, all of them present a series of BRIEF BIOGRAPHY
advantages and disadvantages according to the particularities of each case of study, such
as the number, size and morphology of the losses, or the topography of the surface to be Daniel Morales-Martín
leveled up and its nature, among others. One of the last additions has been the synthetic
filling made from a thermoplastic polymer of poly-2-ethyl-2-oxazoline (commercial name
Aquazol®). De Luca, Borgioli and Sabatini have analyzed the stability of this filler against
different agents of deterioration, obtaining as conclusions its optimum physical-chemical and
mechanical behavior, which suggest its possible its application for the infilling of losses in 37
easel paintings. Given the attributes of this binder, the stucco can provide different qualities
such as reducing/suppressing the contribution of humidity, fast drying, easy leveling, as well
as the possibility of generating different textures easily. Testing these is the objectives
addressed in the present investigation, in addition to knowing the behavior of the filler in
relation to the mechanical stability of the canvas. This work is based on two cases of study
that share the need to find a filler that does not add humidity to the canvas and that is capable
of reproducing the texture of the pictorial surface surrounding the loss. On the one hand,
Daniel Morales-Martín, bachelor degree in Conservation and Restoration of Cultural
there is a traditional painting from the 17th century characterized by a very accentuated
Heritage (2018 Granada University, Spain), Master’s degree in Diagnosis of the State of
brushstroke. On the other hand, there is a painting on a cotton canvas from the 20th century,
Preservation of the Historical Heritage (2019 Pablo de Olavide University, Seville, Spain).
which presents a painting structure composed of different impastos, spread with a brush and
Current doctoral student in Arts in the Complutense University of Madrid, Spain (2020-2023).
a palette knife, combined with a smooth surface that revels the imprint of the fabric. For the
Currently working as a researcher in an investigation group call CERVITRUM at the Institute
preliminary test, a total of 18 mock-ups were made on which the specific pictorial surface of
of History, Spanish National Research Council, Madrid, Spain since March 2020. Main
each painting was reproduced, as well as the textile intarsia treatment carried out on their
research lines: research and restoration of painting canvas and preventive conservation on
supports. This way, volumetric reintegration was carried out on two type of losses: missing
museum collections and other Heritage Science conservation issues, mainly by applying the
color layer and the entire pictorial structure. The losses were reintegrated with a filler
pH environmental chemical sensors technology.
composed of Aquazol ® 200 at 10% in a hydroalcoholic solution (25% water /75% ethanol)
with the addition of calcium sulfate until saturation. Following the results obtained in previous
investigations, the mock-ups were varnished. The test samples were subjected to
 Contact lenses for a wood sculpture could reassemble the vitreous quality of the original eyes, it was also an aim to create a
system that could be easily removed, if necessary. In order to achieve this, two 1,0 mm thick
Ana Bailão (1); Ana Bidarra (2,3); Bruna Silva Pereira (2); Ana Rita Esperança (2); magnets, with an area of 4,0 mm2, were applied in each eye-ball and in the back of each
Teresa Desterro (2) lens. The final result it’s an optical effect similar to the glaze of a glass eye, which can be
easily removed and adjusted to the shape of the eye-ball.
(1)Universidade de Lisboa, Faculdade de Belas-Artes, Centro de Investigação e de
Estudos em Belas-Artes (CIEBA), Largo da Academia Nacional de Belas-Artes, 1249-058
BRIEF BIOGRAPHY
Lisboa, Portugal; *ana.bailao@gmail.com
(2) Tomar Polytechnic Institute, Quinta do Contador. Estrada da Serra. 2300-313. Tomar.
Ana Bailão
Portugal; bidarra.ana@gmail.com; bruna.silva.pereira@outlook.pt; anarita.esp@gmail.com
(3) Techn&Art - Tomar Polytechnic Institute, Quinta do Contador. Estrada da Serra. 2300-

313. Tomar. Portugal

One of the most important features of the chromatic reintegration of wooden sculpture, as
well as other artworks, is to be discrete. Amongst the several restoration processes, the
reconstruction of the eyes of a sculpture, poses several ethical and practical challenges
since changes in the expression can occur, when no previous visual information exists. This 38
Auxiliary Professor at Faculty of Fine Arts, University of Lisbon. Department of Science of
case-study will focus on the solution achieved for a sculpture to “recover its sight” without Art and Heritage. PhD in Conservation of Paintings at the same university, in collaboration
interfering or changing with the interpretation of the original. Since this sculpture is a with the Centro de Investigação em Ciência e Tecnologia das Artes (CITAR) and the Instituto
devotional object, the discussion on how to overcome these challenges was widely debated. del Patrimonio Cultural de España (IPCE), Madrid. The doctoral research was about the
It was decided to create something that could be easily removed, functioning as a contact- criteria and methodologies which might help to enhance the quality of painting retouching.
lens, and avoiding the direct application of the colour in the reconstructed eye-ball. This Diploma in Conservation and Restoration by the Polytechnic Institute of Tomar (2005) and a
decision would also full field another criteria; since the original eye-balls would have been master´s degree in Painting Conservation by the Portuguese Catholic University (2010). The
made of glass, and the current ones were made, in a prior intervention, using an epoxy resin, projects are presented through publications, lectures, exhibitions and presentations.
the application of an opaque layer of paint would led to a much different optical result from Teaching about conservation and restoration, especially chromatic retouching, since 2008.
the original, caused by a distinct interaction between the light and this new material. In order
to reduce the impact of the changes in the light reflexion, it was decided to try to compensate
this lost using a material that could reassemble the initial idea, if not for the entire eye-ball,
at least for the pupil and iris. Experiments were carried out with different resins using globular
moulds with one centimetre in diameter. The resins tested were Paraloid B72; PVA
Inpainting Medium (Gustav Berger's O.F.); Mowilith DS 5/2; Aquazol 200; Plextol B500 and
the monomer 2-ethyl hexyl acrylate. The selected resin was the monomer 2-ethyl hexyl
acrylate, which was then also tested in a mixture with acrylic paint, in order to achieve an
accurate colour representation of the iris and pupil of the eye. The moulds were made using
the silicone furniture crash pads tablet. Along with the main goal of finding a solution that
Disintegration in the surface restoration process – The case At this point a conservation intervention was required to DCR. The sculpture was then
opened by the welding zones in order to allow access to the interior, and perform mechanical
of Jorge Vieira, Bull cleaning and chemical stabilization of the material. During the process, it was noticed that
the surface had a decorative pattern, hidden under the thick layer of zinc, but clearly visible
Sara Leite Fragoso(1),; Rober Wiley (2) from the back, on the healthy plates.
The question was raised as to whether preserve the protective zinc layer or remove it, in
(1) NOVA, Faculty of Science & Technology, Department of Conservation & order to recover surface morphology produced by the artist. A compromise was achieved,
Restoration - eslf@fct.unl.pt by de-restoration, of partial disintegration of the zinc layer through mechanical cleaning, and
(2) Research Unit VICARTE - Vidro e Cerâmica para as Artes, robertwiley@fct.unl.pt recovery of a morphology closer to that which the artist had produced. The iron surface was
stabilized with corrosion inhibitors. The open plates were welded, replicating the technique
The propose of this paper in to present a case study of the restoration process of Jorge and morphology of the original sewing. Finally, a chromatic integration with graphite
Vieira's Bull, an emblematic iron outdoor sculpture that involved de-restoration of a sound microcrystalline wax and sanguine was carried out to mimic the initial appearance.
surface, with subtraction of material, with the aim to reveal the original morphology, and .
surface integration with coloured wax. The conservation and restoration decision process
involved all the stakeholders: DCR teachers and students team, Noémia Cruz, who was in
charge of the work, after the author's death, and the custodian of the work, the city Hall of BRIEF BIOGRAPHY
Almada (CMA). The historic conservation research involved interviews with the CMA, owner
and previously “restores” and a photographic record of the object's experience in the place Sara Leite Fragoso
of exhibition. The material characterization involved sample collection in different phases of 39
conservation process, metallography and SEM-EDS.
Built by Vieira and an assistant, the sculpture was mounted on a thin iron skeleton. Each
plate was shaped, and inlaid with round puncture pattern. Subsequently, the sheets were
assembled with iron electrode welding. The surface was finished, blackened with oil and fire.
The technique used is identical to his others sculptures of medium-sized animals.
The Bull over the years began to show signs of corrosion. It was then subject to a restoration,
under the responsibility of metallurgical engineers, where only the chemical stabilization of
Sara Leite Fragoso is a senior metals conservator, and a PhD candidate in Conservation
the material was taken into account, without thinking about aesthetic and formal values of
Science. She has a private practice in archaeological and historic objects, and metal
the artistic object. The sculpture followed the protocol of: rigorous mechanical cleaning with
sculpture conservation in since 1994. Since 2001 she teach the practical lessons of metals
sandblasting, which led to localized wear of the decoration; deposition of a thick layer of zinc
conservation at NOVA-FCT-DCR. She is specialized in finishing techniques of metal
on the surface to guarantee galvanic protection, but which concealed the decoration; and surfaces and optimization of conservation methodologies.
application of a traditional black paint system that uniformed the surface. Then, it was again
exposed for years, outside, subject to the elements, marine aerosols, and the sprinkler
system, ended up showing signs of active corrosion, localized breakdown and loss of
material.
 Textile chromatic reintegration: different methods for
specific pathologies. A challenge for textile conservators
Eva María Montesinos Ferrandis(1), Sofía Vicente Palomino, Dolores Julia Yusá
Marco, Natalia Arbues Fandos
(1) Universitat Politècnica de València evmamont@hotmail.com
of the dyed restoration threads and its regular distribution to create a similar effect produce
by the tratteggio technique, unifying the view of the treated area.
Finally, regarding the loss of ornamentation as occur in embroideries, were the replacement
of lost elements are not a common practice, semi-transparent dyed fabrics are used to
protect damage areas and also to create a visual continuity as well. Losses in painted textiles
can be solved consolidating the area with a neutral dyed fabric support or reintegrating the
support fabric pictorially with protected aqueous methods.

Colour perception on textiles is determined by both, the addition of different resources

provided by materials, weaving and dressmaking and also the conservative conditions of the
textile pieces depending on degradation factors. As a result, the problematic of chromatic
deterioration is really extensive and solutions must be properly argued, technically and
ethically.

The casuistry of damages that affects a textile chromatically is mainly determine by the type
of support losses, gaps or abrasions, as well as the influence of colour found in the adjacent
areas of these type of deteriorations or even the general perception of theses ones or the
textile piece as a whole. Damages that affect the polychromy of the ornamentation 40
(embroideries, painting and printing) also exists. Thus, within the processes of consolidation
the chromatic reintegration achieves a fundamental role in the textile restoration field, either
by sewing methods or other procedures.

On the other hand, within the field of textile heritage, the ethnological documents require
minimal aesthetical intervention due its current function, but in other cases the aesthetical
aspect achieves a determining role, as occur in textiles considered works of art (tapestries,
embroideries, etc.) or clothing pieces that still maintain its original function. Therefore, the
aim of this research is to accomplish a review of textile reintegration methods and its choice
depending on the specific damage typologies.

Chromatic reintegration is generally accomplished preparing a consolidation support to

integrate losses. This support can be partial or total, and must be adapted to the specific
characteristic of the original textile regarding structure, materials and colour, that will be
obtained by means of stable synthetic dyes and adapted to the areas of loss. Moreover,
certain type of losses and some specific textiles mean a challenge to the textile conservator
due to the specific methods of reintegration required as the use of reweaving or semi-
transparent fabrics. Self-couching stitch are used as well, that combines the colour suitability
 Materials contemporarily used in retouchings – indications
for selection, not only for students
BRIEF BIOGRAPHY
Elżbieta Szmit-Naud

Nicolaus Copernicus University (NCU), Faculty of Fine Arts, Chair of Conservation and Elzbieta Szmit-Naud
Restauration of Paintings and Polychrome Sculpture, ul. Gagarina 7, 87-100 Toru, Poland;
esn@umk.pl

The materials used by restorers have to fulfil the criteria of stability and reversibility. For
retouching we use artistic materials adopted for this purpose (for example watercolors) and
paints specially produced or mixed with selected pigments and resins - acrylic, polyvinyl
acetate, until recently also ketone replaced by urea-aldehyde. A selection based on the
positive assessment of the lightfastness of the paint components and layers and their
reversibility may not be sufficient.
Sometimes unintended effects appear during work or shortly after finishing it.
Furthermore, in practice, we create the retouching layer-varnish system, more consistent Assistant professor at the Chair of Conservation and Restauration of Paintings and
Polychrome Sculpture – Faculty of Fine Arts of NCU, Torun, Poland. Graduated in 41
than we assume, which has consequences not only for appearance but for the reversibility
of retouchings themselves. conservation restoration at the same university broadened her competences in internships
The results of research on contemporary retouching materials are illustrated on examples to at Atelier et Laboratoires Crephart in Switzerland, at IRPA/KIK in Brussels and completed
clarify the indicated issues. Observations were made to detect certain types of changes, and post-graduate studies in preventive conservation at Paris I University. Received in 2001 her
instrumental measurement of gloss and colour of paint layers made of retouching paints after PhD for „Optical stability of retouchings in easel paintings. This subject remains in her
drying, varnishing and accelerated aging in the Xenotest® were made, some changes in the educational and research activity. A wider scope investigation of historical theatre scenery
structure were recorded by SEM. The reversibility of aged layers unvarnished and covered paintings was her habilitation thesis project. The scope of her research includes stability of
by varnish layer was assessed and compared. conservation materials and, recently, safety of some conservation treatments.
 The influence of fillers on the chromatic reintegration colorimetry, it was intended to identify the differences and similarities that the tested filling
materials had with the original, and choose the best filler formulation, based on the results
process on easel paintings: analytical study for flesh color of the analytical techniques.

Alexandre Xavier(1), Ana Bailão(1) , Marta Manso (1), (2)

(1) Universidade de Lisboa, Faculdade de Belas-Artes, Centro de Investigação e de Estudos

em Belas-Artes (CIEBA), Largo da Academia Nacional de Belas-Artes, 1249-058 Lisboa, BRIEF BIOGRAPHY
Portugal; *ana.bailao@gmail.com
(2) LIBPhys FCT/UNL - Universidade NOVA de Lisboa Alexandre Ferreira Xavier

Losses on chromatic and ground layers are a common problem in easel paintings. When the
losses are on flesh zones, there is an additional factor of concern, since this is the region
that captures the biggest attention of the art appreciator. The choice of the most appropriate Alexandre Ferreira Xavier is an art conservator with acting in São Paulo, Brazil. Actually is
filling materials formulation for this situation is a crucial step. The purpose of this investigation the responsible conservator from Theatro Municipal de São Paulo, an institution with textiles, 42
was to understand, how the constituent materials from filler influence chromatic reintegration paper documents and photography collectons. Master on Conservation and Restoration from
and how the filling materials can be used to support colour matching on flesh areas. An easel Faculdade de Belas Artes da Universidade de Lisboa, also with professional experience on
painting, from the Portuguese painter Veloso Salgado, was used as case study, belonging oil paintings, tiles, sculptures and religious art conservation, expositions assembly and art
to Faculdade de Belas-Artes da Universidade de Lisboa – FBAUL collection. Before working transportation.
on the real painting, it was selected and tested 8 filling formulations pigmented in a laboratory
and applied over a mock-up model. The 8 filling materials were tested, on a different
luminosity scale, taking as reference measurement of reflectance (FORS) and colorimetric
parameters of the painting itself, in order to select the most similar pigments to the surface
of the pictorial layer. Using colorimetric and reflectance measurement, the samples could be
distinguished and classified between themselves according to their similarity with the
reference sample of the painting. After the choice of the best filler, the next step was the
chromatic reintegration on the painting, in order to confirm the methodology. Based on the
results obtained with this research, a protocol was proposed with guidelines for the
conservators-restorer’s community, a contribution to studies on chromatic reintegration. This
methodology will bring the advantage of reducing the time spent in adjusting the colour, as
well as the trial and error process, reducing the exposure of the work to the risk of rework.
In summary, through the use of the visible light reflectance technique (FORS) and
 The case of the exposed ceramic panels by the artist Jorge 3D Digitalization, an “insurance” backup is created in case of future damage or
thefts. Once the original object is registered in perpetuity, it can be replicated at any
Barradas at Palácio da Justiça de Lisboa given moment.
Adriana Anselmo de Oliveira (1), Nelson Ferreira (2), Leonel Ribeiro (3)

(1) Faculdade de Belas Artes da Universidade de Lisboa & CIEBA -Centro de Estudos e BRIEF BIOGRAPHY
de Investigação em Belas Artes, adriaao6@gmail.com
(2) Faculdade de Letras da Universidade de Lisboa, nelsonpferreira@gmail.com
(3) Conservator-restorer in the Division of Safeguarding the Cultural Heritage, Lisbon
City Council, leonel.d.ribeiro@cm-lisboa.pt Adriana Anselmo de Oliveira - Born in Brazil is
currently a PhD student in Art and Heritage Sciences
at the Faculty of Fine Arts of the University of Lisbon,
The following work consists of conservation and restorative techniques applied to 16 a research collaborator at CIEBA and works as a
ceramic plaques, as presented on the main facade of the Palácio da Justiça de conservator-restorer of art and cultural heritage. Her
Lisboa. Authored by Jorge Barradas, Querubim Lapa and Júlio Resende, the academic contributions include, in 2017, an
intervened panels were treated with different types of materials and applied Honourable Mention in the category of "SOS Azulejo
methods, both digital and manual, to assure their restoration and conservation. 2017 Master Dissertation" for her 2016 Master's 43
Having the reconstitution of missing areas as goal, photographs and photographic dissertation. Prior to these decisive events, in 2013
documents from said panels were used as reference. she graduated in Conservation and Restoration in the
Jorge Barradas’ panels were the most damaged amongst these, since they were Arts from the Ricardo Espírito Santo Silva School of
more exposed and prone (in theory) to involuntary risks, mostly due to the large Decorative Arts and graduated in Visual Arts in 2010
figures on its composition. from the Federal University of Espírito Santo, Brazil
The reconstruction of these missing large figures were made possible by 3D
Digitalization and Printing resources. These techniques consist on the conversion of
a physical object unto the digital format. Once obtained the digital format of an
object, it can be visualized on a computer where countless purposes can be applied
to, from metrological studies, to exhibitions in catalogs or virtual galleries. The 3D
printed object, achieved through “additive fabrication”, where a three-dimensional
model it’s created by several layers of material. Using other tools, a 3D artist finalizes
the piece, shaping it, and in some cases colouring it.
The main goal of the 3D Printing intervention on the Jorge Barradas panels, was to
allow the replacement of key large figures, turning out to be less harmful to the
original work, for the durability of printed materials does, indeed, offers new longevity
to the artist’s work. Also, by obtaining the complete piece on digital format, through
Nelson Ferreira - Born in Funchal (Madeira Island),
Nelson Ferreira graduated in History by the Faculdade
de Letras da Universidade de Lisboa. He is currently
enrolled at the same college, in the Historiography and
Theory of History Master's degree. In 2018, he was part
of one of the IV Congresso: I República e
Republicanismo panels, with the presentation: «"Meras
choças da Carbonária" - Entre conspiradores radicais
nas vésperas da implantação da República, a partir da
perspectiva de José Nunes e A Bomba Explosiva».

Leonel Ribeiro. – Born in Lisbon, Professional training

in Conservation and Restoration of Tile, by the 44
Portuguese Institute of Cultural Heritage, Degree in
History of Art, Faculty of Arts, University of Lisbon,
Specialization Course in Heritage Management, by the
Institute of Art History of Faculty of Social and Human
Sciences – Universidade Nova de Lisboa. .Coordination
of the Tile Service in the Cultural Heritage Department
of the C.M. of Lisbon, since 1996. Coordination of the
Survey of Tiles in Public Space in the Municipality of
Lisbon. Conservator-restorer in the Division of
Safeguarding the Cultural Heritage, Lisbon City
Council.
 The virtual chromatic reintegration of lacunae through
augmented reality. Design of a method applied to paintings
Sanabria Fernández, Juan Salvador (1), González-López, María-José (2)
(1) University of Seville, Painting Department, Faculty of Fine Arts, Laraña Street, 3,
41003, Seville; jssanabria@us.es
(2) University of Seville, Painting Department, Faculty of Fine Arts, Laraña Street, 3,
41003, Seville; baglioni@us.es
The chromatic reintegration of lacunae continues to be one of the most controversial
operations in the field of restoration due to the aesthetic and historical implications involved
when they are executed in a cultural asset. In this treatment are also conjugated,
conservative considerations derived from the conservation status of the work (gaps,
wastage, repaint, etc.), other issues that will condition the intervention criteria with which it
will carry out; Legal, ethical and functional aspects are not left out of the final decision making
that is adopted.
Nowadays, virtual chromatic reintegration is starting to be an option to be evaluated in the
field of cultural property intervention, which is very useful at specific moments in the process
of action; especially in the design phase that defines the intervention and in the decision
making. Its usefulness is not negligible since it helps, from a tangible document, obtained
through multimedia resources with a non-invasive method (photo, infographic, video, etc.) to
evaluate and visualize the different options that can be adopted virtually without need to act
directly on it; in addition to giving us an approximate idea of a state as similar as possible to
the one it had in its origin or, in the different moments in which it has been intervened.
Starting from the idea of respecting in this treatment two of the principles most accepted by
all specialists: the principle of minimum intervention and the maximum respect to the original
material, we think that the virtual chromatic reintegration, combined with the Augmented
Reality, is a tool that today offers a correct alternative to solve complex situations where it is
difficult to intervene directly objects.
Through this project, we have developed a work method structured in successive stages:
selection of the work, digitalization, virtual chromatic reintegration of present lagoons with
different techniques and reintegration systems, which allows us to implement and
disseminate the results obtained through an application mobile, so that the end user, through
the use of Augmented Reality through a Smartphone or mobile device, can visualize in real
time, the different possibilities of chromatic reintegration evaluated for the work under study;
whose method can be extrapolated to future performances another paintings.
Applying the working method to a practical case, we have been able to obtain positive results.
It has been demonstrated that it is viable and can be carried out in real contexts, proving that
the work has not required to be manipulated at any time and none of the actions have been
destructive. The resulting images of the virtual chromatic reintegration have fulfilled the
expectations and its incorporation to its visualization by means of a mobile device was also
successful. Finally, in a complementary way, the resource has functioned as a tool to value
the work of art that was unnoticed due to its state of conservation.
BRIEF BIOGRAPHY
Juan Salvador Sanabria Fernández
45
Juan Salvador Sanabria Fernández. Conservator and Restorer of Cultural Heritage by the
University of Seville with extraordinary award studies prize (2016). Specialist in virtualization
of heritage (2017) by the University of Alicante, Master in Architecture and Historical Heritage
by the University of Seville (2018) and Expert in Virtual Heritage by the University of Alicante
(2018). Professor and Research staff of the Department of Painting of the University of
Seville, member of the research group HUM956 Conservación de Patrimonio. Métodos y
técnicas and currently PhD student in the Arte y Patrimonio program of the University of
Seville.
 A transdisciplinary approach towards the digital chromatic
restitution of overpainted layers in Goa’s Viceroys gallery
Ana Teresa Teves Reis(1), Fernando António Baptista Pereira(2), António Candeias(3),
Sara Valadas(3), Nuno Carriço(3), Ana Machado(4), Luís Piorro(4)
(1) Universidade
de Lisboa, Centro de Investigação e Estudos em Belas-Artes (CIEBA),
Largo da Academia Nacional de Belas-Artes, 1249-058 Lisboa, Portugal & Universidade
de Évora, Laboratório HERCULES e Cátedra CityUni Macau on Sustainable Heritage.
atreis@campus.ul.pt
(2) Universidade
de Lisboa, Centro de Investigação e Estudos em Belas-Artes (CIEBA),
Largo da Academia Nacional de Belas-Artes, 1249-058 Lisboa, Portugal.
fa.baptistapereira@belasartes.ulisboa.pt
(3) Universidade
de Évora, Laboratório HERCULES e Cátedra CityUni Macau on
Sustainable Heritage. candeias@uevora.pt; svaladas@uevora.pt; ncarrico@uevora.pt
(4) Direcção Geral do Património Cultural, Laboratório José de Figueiredo.
anafbmac@gmail.com; lpiorro@gmail.com
In the Archaeological Museum of Old Goa (Goa, India) a collection of 71 portraits is displayed
(additional 46 are in reserve rooms) which includes wooden (54) and canvas (17) paintings
from the 16th until the 20th century. These portraits depict the Viceroys and Governors of
former Estado da India, the Portuguese provinces in the Indian subcontinent between 1505
and 1961.
In order to achieve new insights on this shared heritage collection, a multidisciplinary team
of Portuguese and Indian researchers (from the Archaeological Survey of India’s Science
Branch) developed an integrated study which culminated in a 2 weeks workshop dedicated
to in-situ examination and analysis of 8 multi-layered wooden paintings from the 16 and 17
centuries. This project was named Old Goa Revelations: New insights on the Viceroys
Gallery and was coordinated by the University of Lisbon Art Studies Research Centre –
CIEBA, HERCULES Laboratory, from the University of Évora (who provided its mobile unit)
and José de Figueiredo Laboratory (from the Portuguese Directorate of Cultural Heritage).
The complementary contribute of different imaging techniques (digital photography, IRR and
X-Ray radiography) revealed, at least, two full overpaints over the well-preserved primitive
paint layers. In-situ elemental analysis (by punctual and 2D EDXRF mapping analysis)
provided additional data on the pigments used in the different layers. Correlating the scientific
results with archival documentation, namely reproductions of the collection from the 16, 17
and 19 centuries, assisted the researchers in the interpretation of the data and allowed a
new understanding of this collection and its historical fortune.
There is a general opinion wishing the removal of the overpaints. Since 1964, when ASI
became the custodian of this collection, it has been standing by its conservation principles,
to maintain authenticity by retaining ‘the maximum amount of existing historical material’.
This policy, while perhaps controversial, has kept the primitive layers preserved under the
repaints for the last 60 years, bearing in mind the museum’s lack of climate control system.
Additionally, such procedure (besides the associated risks) would violate ASI’s policies,
since layers over 50 years are considered antiquities and a ‘layer of history’ to be respected.
Previous work dedicated to the issue of repaint removal suggested that, in terms of cultural
significance, the impact of removing or retaining the overpaints (but with visual access to all 46
layers) would be similar, unlike doing nothing, which would yield a negative result. This
project’s integrated approach allowed the digital revelation of the primitive underlayers
without the need for irreversible procedures
In that sense, work is being developed towards the digital chromatic (hypothetical) restitution
of these portraits’ primitive layers, based in the data collected during the workshop and
historical information. The goal is the development of interpretation panels using digital
resources, to which we dedicate this paper.
Acknowledgments: The authors wish to acknowledge the Science Branch team and
Museum & Antiquity Division, from the Archaeological Survey of India, for their contribution
to this work. Author Teresa Teves Reis acknowledges the financial support of Fundação
para a Ciência e Tecnologia of the research Scholarship PD/BI/135001/2017 and PhD
Scholarship BD/PD/143084/2018.
 BRIEF BIOGRAPHY

Ana Teresa Teves Reis

Teresa Reis is a conservator-restorer, graduated from the Polytechnic Institute of Tomar

(2005), with a Master degree in Conservation and Restoration of Cultural Heritage, from the
Catholic University of Portugal (2014). She worked as a freelance conservator, was a teacher
at a EQF Level 4 Heritage vocational course (2009-2013) and worked for private
conservation and restoration firms. She is concluding the PhD in Heritage Sciences under a 47
joint doctoral program between the Faculty of Fine-Arts, University of Lisbon and the
University of Évora, the HERITAS-Heritage Studies programme. Her research interests are
heritage collections of Portuguese influence and their shared interpretation.
 Development of a scientific methodology for the virtual BRIEF BIOGRAPHY

chromatic reintegration of two 15th century burnt painting

panels from the Cathedral of Valencia
David Juanes Barber. His research in the conservation of cultural heritage began in 1998
David Juanes Barber (1), Livio Ferrazza, Inmaculada Chuliá Blanco, Greta García at the Universitat de València, where he participate in the development of portable X-ray
Hernández, José Antonio Madrid García fluorescence equipment for the in situ non-invasive analysis of works of art. In 2002 he
defended his doctoral thesis on the design of portable EDXRF equipment for the study "in
situ" of heritage objects. In 2007 he joined the Valencian Institute of Conservation and
(1) Institut Valencià de Conservación, Restauración i Investigación
Restoration (currently Institut Valenciá de Conservació, Restauració i Investigació) where he
gives technical and scientific support to the different conservation and restoration
departments.
The conservation and restoration of Cultural Heritage is in continuous
development of scientific methodologies applicable to the technical-artistic
study or in the diagnosis of the state of conservation. In the same way, art
history is progressively integrating digital tools for its research. This paper
describes the methodology developed for the virtual chromatic reintegration
of two 15th century panel paintings. These two scenes, which depict Saint
Martha and Saint Magdalene and the Virgin, Child and Saint Anne, were part 48
of the predella of the Altarpiece of Saint Narcissus, commissioned to Franci
Joan (1481-1515) on 7 December 1503 by the Confraternity of Saint
Narcissus. They were seriously affected in the 1936 by fire in the Metropolitan
Cathedral Basilica of Valencia, and their surfaces have been totally obscured,
making it impossible to obtain information on the original image, colour and
technique of execution. A research project has been carried out based on the
results of the studies carried out in the first phase, using digital Industrial
Radiography, macro X-ray fluorescence (MA-FRX) microscopic (MO vis-UV,
SEM) and spectroscopic (EDX, FTIR-ATR) analyses thanks to which artistic-
technical aspects of the paintings were clarified, and the mechanisms of
alteration that the constituent pictorial materials had undergone due to the
effects of the high temperatures. These studies have also been used to carry
out a hypothetical infographic reintegration of the original colours of the burnt
panels. Its purpose was to serve as a visual tool for cleaning and removing
the deposited sediments, and as a simple virtual reconstruction of the original
painting, in the case that no cleaning or intervention could be carried out due
to technical impossibility.
e-POSTERS 49
 Ryūkyū round lacquered box: chromatic
reintegration methodology
BRIEF BIOGRAPHY
Débora Sarmento(1) Margarida Cavaco(2) Maria da Conceição Borges de Sousa(3)
Débora Sarmento
Direção-Geral do Património Cultural - Laboratório José de Figueiredo (DGPC-LJF); Rua
(1)

das Janelas Verdes, 1249-018 Lisboa - Portugal; e-mail: deborasarmento@dgpc.pt

Direção-Geral do Património Cultural - Laboratório José de Figueiredo (DGPC-LJF); Rua
(2)

das Janelas Verdes, 1249-018 Lisboa - Portugal; mcavaco@dgpc.pt

Direção-Geral do Património Cultural - Museu Nacional de Arte Antiga (DGPC-MNAA);
(3)

Rua das Janelas Verdes, 1249-017 Lisboa - Portugal; sousa.conceicaob@gmail.com

First and master’s degree in Conservation and Restoration at Instituto Politécnico de Tomar
From the Ryūkyū Japanese Islands this round red lacquered box dates circa 1590 and (IPT). Master’s degree specialization in Movable Heritage and thesis in Easel Painting:
belongs to the furniture collection of Museu Nacional de Arte Antiga (Lisboa). It’s Pentecostes: Estudo e intervenção de conservação e restauro. Pintura sobre madeira do
conservation and restoration intervention carried out at Laboratório José de Figueiredo Museu Nacional de Arte Antiga. After that, it acquired experience in easel painting
allowed us to discuss methodologies including in the chromatic reintegration treatment. The interventions, mainly in private context. Since 2018, it is developing study and intervention 50
wooden structure and clay layers precede the red and black lacquered surface. The gilded of Furniture at Direção-Geral do Património Cultural - Laboratório José de Figueiredo
decoration, characteristic of this type of object, represents vegetal and geometric elements. (DGPC-LJF). As such, the main interests are the study about composite objects and
The interior decoration has gold and silver powders. Considering its conservation state, an intervention of painted furniture.
high detachment risk of the lacquer and loss of large part of the decorative elements, several
conservation and restoration treatments were made such as the lacquer fixing and
mechanical and chemical cleaning. Subsequently it was important to define a reintegration
criteria for better reading and understanding the object. As it wasn’t possible to reconstitute
all the cover drawings missing and only knowing that would have a stripe decorated with
greek motifs, it was only intended to homogenize the surface reintegrating the clay structure
wear points. In the lateral surfaces the structure lacunae were filled on the clay layers level
and also reintegrated to its color. Seeking to restore the reading of decorative elements,
some small areas were reintegrated equally with guache, including the red colour and gilded
lines drawed. These lines chromatically resemble the original decorative grammar. After the
intervention, the box was included in the Temporary Exhibition: Asian Luxury. Porcelain,
Lacquer and Silk - from consumption to appropriation. Keywords: Ryūkyū; Round box; Red
lacquer; Chromatic Reintegration; Guache.
Testing of chromatic reintegration materials and techniques and siliconized foil. We tested paints based on acrylic, alkyd and aldehyde resins, which
were further diluted if necessary.
with simulations on mock-ups: an example on the glazed The testing on mock-ups showed that the most suitable for the glazed ceramic is chromatic
ceramic pitcher from the National Museum of Slovenia reintegration with dots, using the colours that have urea-aldehyde resin Laropal A 81 as a
binder. By arranging the dots in warm/cool and dark/light contrast colour tones and by
Lisa Rode(1), Blaz Šeme(2), Janja Slabe(3) increasing the medium concentration, it was possible to achieve the optical effect of the
glazed painting. The shades were applied in short strokes with minimal colour input.
Chromatic reintegration was then successfully carried out on the original ceramic pitcher in
(1) Academy of Fine Arts and Design, University of Ljubljana, rodelisa5@gmail.com
the same manner.
(2) Academy of Fine Arts and Design, University of Ljubljana blaz.seme@aluo.uni-lj.si Preliminary tests on mock-ups can significantly reduce the possibility of mistakes in the
(3) National Museum of Slovenia, janja.slabe@nms.si reintegration of the original. Although conservators-restorers often do not have enough time
for such comprehensive and systematic testing on mock-ups, it makes sense to do so in the
case of important artifacts, a group of related objects, when introducing new materials and
The concept of conservation science highlights various natural science research methods techniques or improving conservation skills.
and areas that are important in determining authorship, age, materials and techniques, decay
processes, climatic conditions, etc. The results of this research are often very useful to
conservators-restorers in their professional work. However, no less important is practical
research by testing the application of conservation materials and techniques conducted by BRIEF BIOGRAPHY
conservators-restorers themselves. This type of research is also carried out in the field of
chromatic reintegration. When such research demonstrates methodological soundness Lisa Rode 51
(IMRaD or PICO approach, for example), enables verifiability and repeatability of the
experiments, and of course introduces a certain novelty or improvement, it shows the
elements of scientific research.
The poster presents an example of practical research of various reintegration methods and
materials on mock-ups related to the specific problem of chromatic reintegration on painted
ceramic pitcher from the collection of the National Museum of Slovenia. The glazed ceramic
pitcher from the 18th or 19th century is decorated in a Florentine style. The central scene on
Received a degree in conservation-restoration of works of art at the Academy of Fine Arts
the pitcher shows the biblical story of Sodom and Gomorrah. Prior to the intervention, there
and Design of the University of Ljubljana. In collaboration with National Museum of
were several areas of missing painting on the object. A silicone mould was made in the area
Slovenia the research paper focused on the criteria and methodologies which might help to
of the selected larger lacuna, from which the 3D mock-ups were made in the form of gypsum
castings. The contour reconstruction of the painting from the preserved part of the ceramic enhance the quality of painting retouching. Her areas of interest are the technical accurate
body was transferred on the surfaces of mock-ups by using thermoplastic moulding foil. The reconstructions of paintings. Currently, she is pursuing a M.A. in conservation/restoration of
chromatic reintegration of lacunae on testing areas followed the stratigraphy of the pitcher’s easel paintings and polychrome wood sculptures. She has been developing her work in the
original paint layer. The reconstruction of a painting was designed with a white glazed field of conservation and restoration of furniture and polychrome wooden objects on the
underpainting over which a multi-coloured painting with glaze was applied. The goal of the Universalmuseum Joanneum in Graz, Austria.
tests was to get as close as possible to the colour, structure and texture of the original
painting with different ways of applying retouching paints: various lines, dots, liquid strokes
and in combinations. We also tried to smooth the surface with the help of a heating spatula
 The volumetric and chromatic reintegration of hydraulic BRIEF BIOGRAPHY

mosaic: comparison of 4 techniques Juan Bermejo-Soler. Professor in the Department of Painting in the Faculty of Fine Arts
University of the Basque Country
Juan Bermejo-Soler(1), Iñigo González-González(1), Estíbaliz Lama-Ochoa(1),
Fernando Baceta-Gobantes(1), MªDolores Rodríguez-Laso(1)

(1) Universidad del País Vasco (UPV/EHU), juan.bermejo@ehu.eus;

igonzalez225@ikasle.ehu.eus; estibalizlama@gmail.com; fernando.bazeta@ehu.eus;
mariadolores.rodriguez@ehu.eus

The mosaic made of hydraulic tiles, is an architectural coating with a significant decorative
importance, characteristic of both modernist and Art Deco architectures. This technique
appeared in France in the decade of the 1860s, spreading all over Europe with great rapidity,
and with a remarkable impact until the beginning of the Second World War. The decoration
with hydraulic mosaic is based on the use of tiles made of compressed cement, adorned
with intense colors and a glossy appearance. After been used for more than a century, many
of these decorations are in need of an immediate intervention. As they are serialized and
mass-produced elements, their volumetric and chromatic reintegration becomes easier. 52
Non-interventional procedures are not usually acceptable, as they often have the pavement
function. In this work, four different restoration techniques have been compared. Starting
from inorganic binders, we have proposed 1) white cement / silicate mineral paint; 2) acrylic
resin / paint and 3) epoxy resin / paint. Last, reintegration tests were made on marble stucco
using a combination of plaster and animal glue. The results of these four systems were
compared with the ones obtained from the traditional hydraulic mosaic, paying special
attention to gloss, hardness, and porosity. As the goal is to choose the most appropriate
technique applied to Cultural Heritage, its behavior was tested through two accelerated aging
tests. On one hand, a group of test samples have been exposed to the penetration of salts
by capillarity, very common in pavements. On the other hand, the samples were placed in a
climatic chamber with the aim of accelerating its aging, exposing them to humidity, heat and
UV radiation. These tests have made possible to know the potential of each of these
materials and their suitability for volumetric and chromatic reintegration in Cultural Heritage.
 The making of historically informed reconstruction of the better understanding of how the original sculpture might have look like when it was freshly
made.
upper part of the baroque sculpture of an angel from Kaštel
Novi (croatia)
Katarina Strinić (1), Sandra Šustić Cvetković (2), Larisa Vidaković (3), Robert Jozić (4) BRIEF BIOGRAPHY

Katarina Strinić
(1) Arts Academy of the University of Split (MA student), Zagrebacka 3, 21000
Split, Croatia (katarina.strinic1301@gmail.com)

(2) Croatian Conservation Institute, Šibenik Department for Conservation, Milice i

Turka 4, 22 000 (ssustic@hrz.hr)
(3), (4) Arts Academy of the University of Split, Zagrebacka 3, 21000 Split, Croatia

(lara.aranza2@gmail.com),(robertjozic@gmail.com)

During the academic year 2019/2020, as a part of a master's thesis on the Arts Academy of
the University of Split, an extensive conservation and restoration treatment was carried out
on the baroque sculpture of angel from the parish of St. Peter the Apostle in Kaštel Novi
(Croatia). As an additional part of the project, a historically informed reconstruction of the
upper part of the sculpture has been made in front of the original. The intent was to explore
the complexity of the practical process behind its production.
This poster will focus on four main aspects of the reconstruction: the woodcarving, ground,
polychromy and the gilding. The attempt was made to achieve the texture and the luminosity
evident on the original. The selection of materials and tools was guided by the results of
technical analyses performed on the original sculpture. However, given that the artistic
materials available today differ significantly from those used in the past, their handling posed
many practical challenges, which, were mostly related to the physical appearance of the
polychromy.
Katarina Strinić, born in 1996 in Split, Croatia. She graduated from the School of Fine Arts,
Department of Industrial Design. In 2015, she enrolled at the Academy of Fine Arts in Split, 53
majoring in conservation-restoration of easel paintings and polychrome wood. In 2021, she
graduated from the department of polychrome wooden sculptures and obtained a master's
degree in conservation and restoration. The topics of her diploma works are: Topic A-
Conservation and restoration of the Baroque sculpture of angels from Kaštel Novi and Topic
B- Performing a historically informed reconstruction of the upper part of the Baroque
sculpture of angels from Kaštel Novi. During her studies, Katarina participated in numerous
workshops and conservation and restoration projects of easel paintings and polychrome
wooden sculptures. She is currently working in a restoration office where she studies and
works on various conservation and restoration projects.

Even with limitations mentioned above, the project provided a valuable insight into the
methods used by the Baroque masters, which may be useful learning experience for future
conservation projects. Moreover, the reconstruction, lacking any ageing features, enabled a
 Proposal for the chromatic reintegration of losses
BRIEF BIOGRAPHY
in the paint layer on an Egyptian coffin
Sarah Perney
Sarah Perney

ENSAV La Cambre - Brussels.

This work was carried out during the conservation - restoration of artworks Master at ENSAV
La Cambre - Brussels. The Egyptian coffin is attributed to the royal scribe Boutehamon and
comes from the Valley of the Kings in Thebes. It is dated around 1000 BC and is currently
kept in the Royal Museum of Art and History in Brussels. This coffin is part of a funerary
ensemble with two other coffins preserved in Turin. These last two are in a rather good state
of conservation, compared to the one in Brussels. It presents numerous white losses which
fragment the surface and stand out in the foreground. On one hand, the aesthetic Sarah Perney is a former student of La Cambre (Brussels) where she did
appreciation of the coffin incites to reintegrate these losses to restore the rest of the well- a master degree in conservation-restauration of sculpture. During her two last years, she
preserved polychromy. On the other hand, the archaeological value of the piece usually restored an Egyptian coffin, which is the subject of this presentation.
implies minimal intervention, and thus leaving the losses as they are. A proposal was made 54
for the chromatic reintegration of these missing parts, in consultation with the conservator
museum, which respects the archaeological nature of the coffin. It has to be minimally
invasive and very easily reversible. The use of Japanese paper has been tried. It is tinted
with watercolor and glued with an ethanol soluble adhesive (hydroxypropyl cellulose: Klucel
G®) on the white ground layer. The use of a waterless adhesive solution prevents any
sensitization of the watercolor retouching and of the original water sensitive ground layer. It
is thus possible to remove the entire retouching without altering the original ground layer.
The outline of the loss is then drawn on a transparent plastic film (Melinex®). Then, the shape
is transposed and cut in the Japanese paper. The adhesive is applied to the ground layer
and the cut paper is glued into the gap. After that, the color of the paper can then be adjusted
with a watercolor wash. The background color of the coffin is not uniform everywhere.
Therefore, it’s a matter of modulating the tone color of the paper to match it, while maintaining
a certain homogeneity in the aspect color of all the papers. It’s a subtle balance to achieve.
This technique allows to get an homogenous, light and vibrant retouch thanks to the materials
transparency (Japanese paper and watercolor), hard to achieve for large flat tints. This
uncommon technique allows us to answer this specific problem of chromatic reintegration of
losses on an archaeological object. Both visibility and reversibility criterias of the intervention
are respected, while allowing the walls of the coffin to recover a certain visual unity.
 Mock-up reconstructions of golden textiles depicted in
BRIEF BIOGRAPHY
renaissance paintings from Croatia: the pursuit of
embellishment techniques Lucija Duplančić

Lucija Duplancic (1), Klaudia Hojzan (2), Paola Matkovic (3), Sandra Sustic Cvetkovic
(4)

(1)(,2),( 3) Arts
Academy of the University of Split (student), Zagrebacka 3, 21000
Split, Croatia
(4) Croatian Conservation Institute, Šibenik Department for Conservation, Milice i

Turka 4, 22 000

Lucija Duplančić, born on 9. february 1999. In Zagreb, Republic of Croatia is a full-time

This poster will focus on three small scale mock-up reconstruction of several embellishment
student at Arts Academy University of Split, University integrated undergraduate and
motives used by renaissance painter Nikola Bozidarevic from Dubrovnik (Croatia). The graduate degree programme of study in Conservation-Restoration, course Conservation and
reconstructions were carried out as a part of the practical portion of the Technical analyses Restoration of Easel Paintings and Polycrome Wood, currently attending 9. semester (fifth
and historical reconstructions course at the Arts Academy of the University of Split during year). Lucija participated at Leonardo da Vinci ‘s painting technique in theory and practice 55
the academic year 2020/2021. During the reconstruction process a number of question workshop regarding his 500. Death anniversary at Vitturi Castle in town of Kaštel Lukšić near
concerning the painter’s working properties aroused. The attempt was made to answer which Split (May, 2019.). At the moment she is at the beginning of making Master’s thesis based
on easel painting of St. Dominic from Dominican monastery in Split, Croatia.
methods of transferring the pattern on the gilded surface could have been used. Further
questions concerned the subsequent steps of decoration, for example did the pouncing of
the surface occurred before or after delineation of the ornaments in thick paint. In spite the
fact that most of this questions remind ambiguous, the experience gained from the
reconstruction process emphasized the importance of understanding the practical aspects
of decorative techniques as well as the high level of knowledge and painter’s skill required
for this kind of process.
 Approach to the retouching of a 17th century a digital reconstruction was made as a guide to execute the retouching on the actual painting.
Working digitally allowed to create several models with different retouching techniques that
flemish painting can be used as references, as well as speeding up the process of corrections and changes.
Finally, the retouching performed allowed to restore the overall appearance of the artwork,
Paula Serra Sánchez meanwhile been respectful with the original painting and with its own history.

Universidad Pablo de Olavide, Instituto Andaluz de Patrimonio Histórico,

serra.s.paula@gmail.com
BRIEF BIOGRAPHY
The oil on canvas “The Lamentation of Dead Christ” by Gerard Seghers was donated to the
National Gallery of Ireland in 2014; since then, it had remained in the conservation studio Paula Serra Sánchez is a paintings conservator graduated in 2016 in Escola de
and various conservators have worked on this project. The retouching was the main Conservación e Restauración de Bens Culturais de Galicia. She had continued her
challenge of this project, conditioned by the need of the removal of the old overpainting as it education with a Master in Artistic and Architectonic Heritage Management, Museums and
was not appropriate in terms of conservation principles and respect to the original. Art Market, by Universidade de Santiago de Compostela. She had collaborated with different
The painting had gone during the span of its life through numerous interventions and had museums in Spain before had been granted in 2018 by the Heritage Council of Ireland
ended suffering from a visual alteration that had changed considerably its perception. Plenty Conservation Programme with an internship in the National Gallery of Ireland. Where she
of the elements of the composition had been altered due to these later interventions, affecting had continued working in the Conservation Project of Gerard Seghers’ Lamentation of Dead
the iconographic and artistic values of the painting. Christ. Nowadays she is studying a Master in Diagnosis of the Stage of Conservation of
Once the cleaning was completed it was confirmed that the original surface was extensively Historical Heritage by Universidad Pablo de Olavide and collaborating with the Instituto
56
damaged, as the technical analyses had previously shown. Some areas were abraded due Andaluz de Patrimonio Histórico in the analysis and study of paintings from the 16th and
to an excessive cleaning, especially the background; as well as multiple losses with different 17th Century.
sizes spread over the surface, including major losses in the face of Christ.
Under these circumstances, the forthcoming retouching was planned based on an intensive
research that considered the conservation principles and ethics, other projects with similar
issues and the knowledge about the artists and his technique. The main objective was to
restore the unity of the painting, without exceeding the compensation needed.
Different methods and retouching approaches were discussed. It was decided to accomplish
a discernible reintegration, modelling the colour with dots, using Gamblin varnish colours. As
the consistency on the texture was, as well, an essential part of the reintegration; the infillings
were adapted to the texture of the adjacent painting surface.
Over the abraded areas the retouching aimed for the balance of the overall appearance;
however, this compensation is discernible from a short distance. Understanding the artist
technique was extremely relevant to perform a suitable retouching, in this case, it was
necessary to comprehend how he have used the ground layers as part of the colour layer to
avoid an excessive reintegration.
The face of Christ was a challenge itself, as the features were lost almost completely. As a
focal point of the composition and the main character of a religious depiction, it was decided
to opt for a reintegration that retrieves the facial features. Based on the information gathered,
 A Technical Study of Red Colors in Retouch Layer of Some
BRIEF BIOGRAPHY
Wet-Collodion Glass Plate Negatives of Golestan Palace
Photo Archive Sahar Noohi

Sahar Noohi, Manijeh Hadian Dehkordi

Research Centre for Conservation of Cultural Relics, Tehran, Iran

This study presents a part of a research project on retouching wet Collodion and dry gelatin
Sahar Noohi is basically chemist. She received her MS in physical chemistry from Imam
glass plate negatives from Golestan Palace photo archives in Tehran, Iran, dating from the
Khomeini International University, (Tehran, Iran). She has been working in Research Centre
19th century. The collection belongs to Qajar era. This is a case study on the use of red color
for Conservation of Cultural Relics (RCCCR) since 2007. Sahar Noohi is member of Material
in retouching wet collodion glass plate negatives and wants to help the understanding of
science and technology research group in RCCCR and, she is FTIR lab manager. She has
retouch material. Red color in some retouched negatives, and also their binder, were
expertise in FTIR analysis (material identification and studying deterioration processes), with
identified in this study by means of, Fourier transform infrared (FTIR), scanning electron
special emphasis on photographic material.
microscopy-energy dispersive spectroscopy (SEM-EDX) and optical microscopy technique. 57
Sahar Noohi has conducted several scientific projects, and done several consulting works in
The result allowed ascertaining the materials that have been used, and supporting the need
Golestan Palace photo archive (listed as UNESCO World Heritage), and Iranology
for their preservation. Elemental analysis performed with (SEM-EDS) revealed the presence
Foundation library in Iran since 2015. Also, she has a book and several papers as the main
of Lead (Pb), and Iron (Fe) elements in the colorant. Using FTIR, the
author in the field of historic photography.
color binders were found to be complex mixtures of natural resins and some impurities.
Wooden colored pencils as an alternative reintegration
material for large gaps in easel painting conservation
BRIEF BIOGRAPHY

Paloma Ramirez Moreira, Sofía Terán Martínez Paloma Ramirez

National School of Conservation, Restoration and Museography “Manuel del Castillo

Negrete”, National Institute of Anthropology and History. Mexico City.
e-mail address: palomaramirezmoreira@gmail.com

In 2018 the students of the “Restoration of Easel Painting Workshop-Seminar” (STRPC) from
the National School of Conservation (ENCRyM), carried out the second season of the
intervention of the easel painting “The imposition of the mantle to Saint Theresa” from the
Santa Teresa la Nueva Monastery, located west of Mexico City.
It's important to acknowledge that the “top” is an element that was added after the painting
was created. Possibly it was included to adequate the format of the painting to the one of the Paloma Ramirez is a cultural heritage conservator restorer graduated from the Bachelor
current frame. For its chromatic integration, a full investigation on the iconography of “the degree in Restoration from the National School of Conservation, Restoration and
imposition of the mantle on Saint Theresa'' was necessary in order to establish a proposal. Museography “Manuel del Castillo Negrete”. Recently, Paloma finished an internship at the 58
Before the integration the team performed several physical and digital tests to ensure the easel painting restoration department from the Reina Sofia’s museum in Madrid, Spain. Has
best results. Although reintegration with rigattino and varnish paints was considered, it wasn't participated in several conservation congress both as a volunteer and as an exhibitor, the
possible to accomplish during the season because of the limited amount of time given; last being the IIC Edinburgh Congress. At the moment she is working on writing a rapid
however, the nuns who inhabit the monastery considered absolutely necessary to have the response manual for emergencies for restorers who work at contemporary art fairs as a part
full image, since the painting occupies an essential place over the altar of the chapel where of her bachelor degree thesis.
they perform their daily prayers. For this reason, it was decided to use wooden colored
pencils from the Prismacolor Premier brand, applied in crisscrossing long linear strokes,
similar to the hatching technique.
The objective of this poster is to broadcast and discuss the use of wooden colored pencils
for the chromatic reintegration of large-format gaps in easel painting. Its reversibility and
stability allowed in the particular case of the “Imposition of the mantle to Saint Theresa” to
foment its conservation, differentiate the reintegrated area and integrate an element that
because of functional reasons complements the painting´s format. It is expected for the next
season to conclude the reintegration process of the “top” by saturating the colors and prove
or refute the success of the technique.
 The tratteggio meter as a tool for collaborative work in the
BRIEF BIOGRAPHY
chromatic reintegration processes
Antoni Colomina Subiela
Antoni Colomina Subiela(1) and Vicente Guerola Blay(1)

1)Universitat Politècnica de València: ancosu@upv.es; vguerola@crbc.upv.es

The chromatic reintegration processes that are established under the criteria of discernment
or recognition of the new integrative addition require analogy patterns that guarantee the
uniformity of the patterns established in the chromatic losses. The disposition of an optical
texture based on differentiating lines (tratteggio), together with the pointillism technique, are
the most used methods in this type of action, which are aimed at recovering the legibility of
the image. These techniques offer a certain scale of graphic contrast between the original
painting and the addition that appears as a consequence of the restorative act. Antoni Colomina is a professor at the Department of Conservation and Restoration of
In order to achieve a reintegration that manifests a consonance and general homogeneity in Cultural Heritage, researcher at the Instituto de Restauración del Patrimonio and director of
all the losses present in a pictorial surface, it is important that the adjustment of the tratteggio the Heritage and Art Collection Office of the Universitat Politècnica de València. His research
lines is made in an invariable way to achieve the procedural analogy. This is relatively simple is focused on the processes of cleaning pictorial surfaces; the creative industries at the
59
when the work is carried out by a single operator, with a particular and uniform modus service of the festivities and their specific values as intangible heritage; and the curative
operandi that is defined by the quality of its stroke. However, the procedure is more complex intervention and restoration of sculpture on organic support and contemporary art.
when the interventions require the collaborative work of several restorers, especially in large-
format artworks or where the size of the losses determines this circumstance. In these cases,
it is necessary to establish guidelines for group action in accordance with a normalized
graphic standard that helps to specify a reintegration process under an adjustment in the
variables of proportion, size and eurhythmy.
For that purpose, it is proposed a work tool that we have named "tratteggio meter", which is
useful to determine the calligraphy and measurement of the lines to be used in the discernible
processes of chromatic reintegration by each one of the restorers involved in the intervention.
This referential measurement tool is composed of a total of sixteen cells, ordered from left to
right and from top to bottom, from lowest to highest tonal value or luminosity. This gradation
is achieved with the modulation of what we have called LCTD variables, referring to the
various parameters with which the line is constructed and which depend on its length,
contour, translucency and dispersion.
 The perception of the chromatic reintegration from the
adjustment of the work clothing. The lab coat and its colour
alternatives BRIEF BIOGRAPHY

Beatriz Doménech (1), Vicente Guerola (1), (2), María Castell (1), (2), Antoni Colomina (1), (2) Beatriz Doménech

(1) Universitat Politècnica de València, beadomga@gmail.com

(2) Instituto de Restauración del Patrimonio

The present study is focused on the revision of the work clothing of the conservator-restorer,
specifically in the lab coat, analysing its colour and the interference it can create regarding Conservator and restorer at the Heritage and Art Collection Office of the Universitat
the perception of the colours, both of the artwork and of the chromatic palette used to Politècnica de València. In recent years, she has actively participated in numerous
retouch. conservation and restoration projects, as well as in national and international congresses
In this way, the study starts from the review of the corpuscular theory of light. Based on this and seminars. Her research focuses on chromatic reintegration in easel painting, providing,
theory, it is analysed the absorption-reflection process of the interaction of light with matter, through articles and papers, various studies related especially to light sources and their
as well as it is explained how the colour of the lab coat can hinder or favour the perception influence on the processes of pictorial retouching. Currently, she is also developing a PhD 60
and adjustment of the colours in a chromatic reintegration. in retouching of easel paintings.
This investigation is reinforced by a process of experimentation in which the light reflected
by both white and black lab coats, is analysed through measurements using a lux meter.
The measurements have been made facing pictorial works characterized for a chromatic
palette of dark colours or vivid colours, wearing a white lab coat and a black lab coat.
Afterwards, the results obtained have been analysed and compared allowing to discover, in
a more realistic way, the intensity of the light reflection according to the colour of the work
clothing of the conservator-restorer.
In addition, the present study is complemented with the realization of an opinion survey to
international conservation-restoration professionals. Through this survey, the aim is to find
out whether professionals take this factor into consideration during colour reintegration, as
well as their general opinion on this issue.
 The use of a colour-checker in colour matching for the
process of chromatic reintegration
Leonel da Costa (1), Pedro Filipe (1), Marta Aleixo (2); Ana Bailão (2)
(1) Dartecor - handmade painting materials, Travessa da Bela, n13, 4815-336 Moreira de
Cónegos, Portugal. leonelcosta@dartecor.com, beckenfilipe@gmail.com
(2) Universidade de Lisboa, Faculdade de Belas-Artes, Centro de Investigação e de Estudos
it is easier to achieve the matching colours, to prepare and adjust the colour while comparing
it to the original pictorial layer wherever the loss is, due to its portable format. Its large format
is sufficient for preparing and comparing the quality of the paint, unlike what happened with
the first colour checker model tested. Light interference which can occur due to the
transparency of the Colour checker can be avoided by putting underneath the Colour checker
a white base or a base that most approximate of the underground that needs to be
reintegrated.

em Belas-Artes (CIEBA), Largo da Academia Nacional de Belas-Artes, 1249-058 Lisboa,

Portugal. marta.sofia.aleixo@gmail.com, ana.bailao@gmail.com BRIEF BIOGRAPHY

Leonel da Costa

A Colour Checker (C.C.)is a tool specially designed for artists. Its main function is to help the
artist to achieve the right colours for its paintings. It allows comparing colours from reality
with the ones that define its object. Several artists and manufacturers throughout history had
developed the tool to suit their needs. Since this tool can present different designs, serving 61
the purpose of each artist, our aim is to test two different Colour checkers developed by the
Portuguese brand Dartecor® and adapt them to the needs of colour matching for the process
of chromatic reintegration. Accordingly, this proposal demonstrates its application in one
case study, namely in the intervention of chromatic reintegration of a modern oil painting on
canvas from the Portuguese painter João Cândido Canal (1880-?). The materials used and
tested on the colour checker were aqueous paints such as watercolours and gouaches. The
first Color Checker done is made of 3 laser cut pieces. A body in 3mm MDF that supports Degree and Master in Conservation and Restoration by Instituto Politecnico de Tomar, 2011
both the target and the support for paint. The target is made of 3mm MDF and the support specializing in polychrome wood carving. Some of the main CR interventions that
for the paint of 3mm acrylic. The colour wheel is engraved in the body. The second Color collaborated: Igreja dos Clérigos – Porto; Capela São Nicolau – Sé de Lamego; Igreja do
Checker is made of a single 3mm laser cut piece of acrylic. The shape of this C.C. aims for Terço e Igreja Matriz – Barcelos; Basílica de São Pedro e Santuário da Penha – Guimarães;
an ergonomic design both to hold and to reach areas of more difficult access on volumes, Sé do Funchal – Ilha da Maderia. Since 2016, he has been developing Dartecor - handmade
like sculptures. A colour wheel is also engraved in the piece. The observations conclude that, painting materials. Within the same project, it provides consultancy and training on artistic
during the testing phase of colour matching for colour reintegration in oil paintings, of the materials and techniques.
two-colour checkers, the second one showed the best results. The first colour checker is
more suitable to be used in the open air and for artist practice, where the need for colour
matching is less rigorous than in a colour reintegration intervention. The artist can easily use
it to compare colours from reality to the colours from its palette. The second colour checker
is more user-friendly. As it is transparent and has a design similar to a small-format palette,
 Pictorial Reconstruction of Palomino’s Ceiling
José Luis Regidor Ros, Clara Portilla Romero, Juan Valcárcel Andrés,
Pilar Roig Picazo
Instituto Universitario de Restauración del Patrimonio of the Universitat Politècnica de
València; claporro@upv.es
adhesive pattern improves image sharpness and maintains the breathability of the wall. In
the current phase of intervention, this system is intended to be applied to the rest of the vault
once the removed fragments are relocated to their original position.
This project is an important attempt in the search for perfect harmony between the different
computing elements. Information technologies offer a new and wide range of possibilities to
preserve cultural heritage and participate directly in the intervention processes required for
their conservation and restoration.

The case of the Palomino’s frescos in the church of Santos Juanes is a challenge that
requires new alternatives to traditional wall restoration. Part of the burnt paintings in 1936
were detached and partly relocated in the vault later. One third of the paintings, which were BRIEF BIOGRAPHY
not detached, have been restored. At present, a new phase of intervention has begun in
which an aesthetic reconstruction system generated by digital images is being used. This Clara Portilla
technique, already used in a previous intervention, aims to recover the pictorial and
functional ambiance of this religious space.
To fulfil the objective of trying to give a global solution to Palomino's work, it is necessary to
find a chromatic solution to the apse of the church due to the absence of its original frescos.
Based on the digital treatment of the image, we put forward the use of video mapping for the
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recovery of the pictorial and ornamental ambiance previous to 1936. Using a B&W
photograph and taking chromatic and iconographic references from other pictorial works that
are in the same space-time context as the original work and are executed by the same
author, an aesthetic approach to the work would be realized through video mapping Clara Portilla - Graduated and postgraduated in Conservation and Restoration of Cultural
technique. Mapping allows the viewer to return the aesthetic and functional values of the Heritage at the Universitat Politècnica de València and specialized in the field of Virtual
work, without using an invasive way, it favours a vision of its historical-artistic context. Restoration. She currently works as wall painting restorer and researcher at the the Instituto
Without physically altering the heritage, the final audiovisual presentation can reach multiple Universitario de Restauración del Patrimonio (IRP).
information levels, helping the observer understand, for example, the technique and pictorial
materiality of the frescos and, at the same time, discover the different iconographic
representations.
On the other hand, A graphical historical B&W photography taken by J. Alcon before the fire
was used in order to start the work. The digital processing was carried out in several ways
such as straightening, rectifying and scaling of historical photograph. After the previous
process, the following step was a digital colouring based on the superposition of the captures
of the existing fragments to the picture taken by J. Alcon, always taking the colours of the
original painting as a reference. The creation of the virtual final image also requires colour
management calculations to be transformed into a printed or projected reality. The last step
is to print and transfer the image to the wall. This was done with Papelgel®, a temporary
support for the transfer of inkjet and pigmented printing inks. In this case, the use of an
 Smart Heritage: an Easy Method for Matching Colors it is quick and easy to perform and definitely affordable, and it could represent a smart
alternative for built heritage conservation.
Carolina Vatteroni

SiC–Sustainability in Conservation–Italia, carolinavatteroni92@gmail.com

BRIEF BIOGRAPHY
Historic buildings and architectural surfaces are a significant part of the European heritage.
Carolina Vatteroni
In the field of preservation and conservation of historic facades – especially for those of
buildings that are still in use - restorers frequently face the task of faithfully repurpose from
a chromatic point of view surfaces and paintings, often having small patches of original color
as the only reference. This step is often carried out by visual assessment by a restorer
proficient in the field of colorant formulation and with in-depth knowledge of the behavior of
colorants in a specific material: the process involves making a series of samples that are
tested on the surface to be treated, in order to identify the most suitable. Nevertheless, such
a procedure is strictly related to the sensitivity of the conservator. The series of samples
produced can easily be subject to phenomena of observer metamerism and conditional Carolina Vatteroni holds a Master’s Degree in Wall Paintings and Stone Conservation
match: in fact, it is possible that a set of samples that appear to match under a defined set (2019) by Academy of Fine Arts of Naples, with a concentration on sustainable practice in
of viewing conditions, such as light source or viewing angle, no longer match if those 63
the conservation field. Intern in Conservation and Restoration at the Vatican Museums in
conditions change. Since restoration is first and foremost a science, the restorer is provided 2017. Since 2021, active member of the Italian branch of SiC-Sustainability in Conservation.
by the market with effective and specific color measurement devices that are able to capture, Currently freelance researcher and conservator working between Italy and France. Contacts:
measure and quantify the color of a surface, providing reliable data: -in order of increasing 0039 3463636402, carolinavatteroni92@gmail.com
sophistication- densitometers, colorimeters and spectrophotometers. Unfortunately, on a
restoration site and scaffolding the restorer does not always have the opportunity to use such
sophisticated field-portable: as such equipment is often designed for other purposes, its use
in built heritage conservation usually necessitates testing and careful calibration on order to
ensure accurate data. Compromises must be made: the aim of this paper is to identify an
intermediate solution, which would be more effective than visual assessment, easy to
perform, and significantly less expensive than portable spectrophotometers. How this will be
achieved? The tool I tested for this purpose is X-Rite's Color Checker, a target specifically
designed for photography and video production that is able to compare, measure and
analyze differences in color reproduction in any color rendition system. I used the Color
Checker target and software to compare original paintings with samples reproduced by visual
assessment, in order to verify their spectral match, which means the two colors have the
same color coordinates and appear identical regardless of illuminant or observer. Then, I
tested my data by comparing them with those obtained by specifically designed equipment.
The results show that this method is able to provide relevant information on color matching,