RECH6 - 6th International Meeting on Retouching of Cultural Heritage

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https://riunet.upv.es/handle/10251/191386

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

This Meeting aims to address retouching by encouraging papers that contribute to a deeper understanding the knowledge of this final task of the conservation and restoration intervention. The main theme embraces the concepts of retouching, the criteria and limits in the retouching process, the bad impact of retouching on heritage and its technical and scientific developments. This Meeting will discuss real life approaches to retouching, focusing on practical solutions and on th exchange of experiences.

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Now showing 1 - 5 of 31

Adapting and Evolving the Traditional Technique of Egg Tempera. Retouching at the Hamilton Kerr Institute
(Editorial Universitat Politècnica de València, 2023-01-11) Braybrook, Christine
[EN] 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), University of Cambridge, UK. Since its introduction to Britain, the method has evolved and adapted, most recently owing to the absence of MS2A resin. Laropal A81 has been used as the replacement isolating varnish. However, the physical properties and handling differ from MS2A. The typical diluent used at the HKI for Laropal A81 varnish is a 50:50 mixture of Shellsol A100 and Shellsol D40, however, when used as the isolating resin over an area of retouching this mixture could disrupt lower tempera layers. To remedy this, the diluent was changed to cyclococtane, an aliphatic hydrocarbon. Cyclooctane benefits from being less toxic compared to the aromatic hydrocarbon Shellsol A100 and can be manipulated more on the surface before the activation of lower Laropal A81 layers becomes problematic. Laropal A81 solubilized in cyclooctane was successfully used as the isolating resin for egg tempera retouching and offers promise for a variety of varnishing scenarios and retouching. This paper demonstrates this adapted method of egg tempera retouching through a case study of a 16th-century panel painting with large losses perfectly suited to this method.
Remove, repaint or retouch: should the community decided? The case of the outdoor murals of the Riachos village, Portugal.
(Editorial Universitat Politècnica de València, 2023-01-11) Chasqueira, Ânia; Ferraz, Ângela; Triães, Ricardo; Fundação para a Ciência e a Tecnologia, Portugal
[EN] This paper discusses the conservation of murals in Riachos, Portugal. Created in 2012 and 2016 by amateur painters in the context of a religious and ethnographic festival called “Benção do Gado”, a cattle-blessing event. The condition of these murals has deteriorated due to their outdoor location, poor choice of materials used and lack of maintenance. Those murals give meaning to the village, a sense of identity and uniqueness to the local community. These are the reasons why the community should be considered in the process of preservation. This study was conducted using mixed methods, with data gathered from a community survey, interviews with stakeholders and documentation of the current state of the murals. This research argues for a close relationship between conservators and the murals’ authors and the local population. The preservation project should create a balance between current ethical and scientific conservation practices and the voices of the community from whom those cultural manifestations belong, using them as part of the conservation process.
Skin matters. Conservation-Restoration Treatment of a Sixteenth Century Polychrome Wooden Sculpture
(Editorial Universitat Politècnica de València, 2023-01-11) Vuga, Martina
[EN] This paper presents results of the preliminary examination and conservation-restoration treatment of polychrome wooden sculpture, Madonna and Child, dated around 1520 from the National Gallery of Slovenia. Extensive areas of paint loss, discoloration of old retouches and darkened coating on gildings disrupted the sculpture’s visual unity and balance. Overpaints have progressively and significantly changed its appearance. Prior to the intervention we conducted detailed technical examination. Treatment included surface cleaning and partial removal of materials. Decisions, methods, and materials regarding aesthetic reintegration are pointed out: various approaches used on different surfaces, of which faces, and other parts of the skin, received a comprehensive “skin care”.
Moisture Sensitive Easel Paintings: a Practical Application of Filling and Texturing of Losses With Aquazol® Based Filler
(Editorial Universitat Politècnica de València, 2023-01-11) Morales Martín, Daniel; Della Festa, Antonella; Sánchez Ortiz, Alicia
[EN] The filling of losses in easel paintings must provide the level and texture of the original pictorial layers. Synthetic poly-2-ethyl-2-oxazoline based stucco (Aquazol®) has been one of the latest additions with good results in the filling of paintings on canvas. The main objective of this research is to determine the properties of Aquazol® 200 based filler as a texturing filling with respect to its workability and its mechanical behaviour in relation to the structural stability of different textile substrates. To this end, two case studies have been used as a starting point, both of which share the need to find a stucco that does not add moisture to the canvas and that can reproduce the texture of the painting layer. In the experimental part, 18 mock-ups were made reproducing the pictorial surface of each work, as well as the restoration treatments of their supports. These were subjected to accelerated ageing to qualitatively analyse the stability of the filling before and after. After testing, it was found that Aquazol® 200 has excellent qualities for levelling and texturing gaps on moisture-sensitive substrates. The good ability to reproduce brush grooves, small impasti and smooth surfaces is noteworthy. On the other hand, a satisfactory result was not achieved on very pronounced impasto, requiring further study.
The Influence of Fillers on the Chromatic Reintegration Process on Easel Paintings: Analytical Study for Skin Color
(Editorial Universitat Politècnica de València, 2023-01-11) Xavier, Alexandre; Bailão, Ana; Manso, Marta
[EN] Mimetic chromatic reintegration in easel paintings is usually achieved by levelling the surface of losses (lacunae) with a white filler, followed by its retouching with an appropriate paint. This investigation aimed to understand how different formulations of fillers (colored fillers and white fillers covered with three kinds of paints: watercolor, gouache, and mastic resin) influence mimetic reintegration. Colorimetry, using a smartphone with a color measurement application, and Fiber Optics Reflectance Spectroscopy (FORS) measurements were made on 29 samples of fillers and on the surface of the pictorial layer of our case study - a painting by Veloso Salgado.The combined use of these techniques allowed us to choose the most similar material filler system. The pigmented fillers gave us the best results to perform a safer and faster chromatic reintegration procedure. This procedure appears to be suitable for contemporary art as which usually do not present a protective layer. Also, the use of pigmented fillers simplifies the color achievement.

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