Overview of the Study
This article introduces the history of research activities that have been developed in the field of conservation and restoration, motivated by an interest in painting materials and techniques. In the field of conservation and restoration, I have particularly specialized in photographic survey techniques related to the condition assessment of artworks, striving to establish effective and practical survey methods for use on-site.
Based on the experience and knowledge gained through the creation of classical paintings and expertise in photographic survey techniques, I have continued to pursue independent research. This article organizes these research activities from past to present and discusses the insights and outcomes obtained.
Reflections on Painting Materials and Techniques
A painting is composed of multiple materials, each with specific properties, and its composition and structure vary significantly depending on the period and style of its creation. In order to accurately interpret the complex structure formed by these materials, it is essential to identify and understand the physical and chemical properties of each constituent material individually, distinguishing them from one another. Such understanding constitutes a fundamental prerequisite for comprehending the overall material structure.
The main materials composing a painting include pigments (including coloring and inert materials), dyes, binders, and resins, each used appropriately for the support, ground, paint layers, and varnish. As the combination of these materials differs significantly according to the country, era, and school, observers must have both art-historical and technical knowledge. Furthermore, the ability to technically recreate paintings of different styles directly enhances one’s observational skills and capacity for high-precision information gathering.
The Significance and Methods of Visual Examination
Various inspection methods, including instrumental analyses, exist for the study of artworks. However, analyses that require specialized equipment also demand professional qualifications, extensive experience, and conditions such as official authorization and budget. In contrast, visual examination can often be conducted individually, depending on the situation, and serves as an effective and practical means of intuitively gathering information with fewer time and budget constraints.
“Visual examination is the first line of approach to study of an artwork because it does not require that the surface be touched. It precedes and directs instrumental analysis in which the structure and composition of the artwork is determined by analytical methods requiring sampling.” (1)
Reproduction and Copying of Classical Paintings
Through the reproduction and copying of historical artworks, I analyze the techniques and styles of painting. Copying masterpieces is an effective learning method for skill acquisition in art education, allowing the reproduction of sophisticated techniques and styles different from one’s own within a relatively short period, thus leading to rapid improvement of skills and experience.
Based on literature such as investigation reports and academic papers published by museums and conservation institutions, artworks are reproduced using materials and techniques as close to the originals as possible, aiming to enhance both the understanding of the layer structure from support to surface and technical reproducibility.
Visual Examination
Visual and photographic examinations of artworks and test samples are conducted both within and beyond the visible light spectrum. Imaging and recording are performed using CCD cameras and photographic films sensitive to ultraviolet and infrared light, thereby visualizing information invisible to the naked eye.
By comparing information obtained from the visible spectrum with that from the invisible spectrum, more comprehensive material and condition data can be acquired.
The investigation includes:
- Examination under visible light (standard and raking illumination)
- Observations of responses under reflected ultraviolet and reflected/transmitted infrared radiation
- Observations of fluorescence responses induced by ultraviolet and infrared radiation
- Observations of fluorescence induced by specific visible light wavelengths
- Creation of pseudo-color images integrating various visual data
Examples of Survey Results
Selected research outcomes have been presented in the following papers:
“The Possibility of Non-Destructive Testing by Terahertz Waves,” by Kaoru Fukunaga, Iwao Hosako, Yuichi Ogawa, and Satoru Hamaya, 29th Annual Meeting of the Japan Society for the Conservation of Cultural Property, 2007
“Proposal for a Practical Color Chart for Optical Surveys,” by Satoru Hamaya, Kana Fukazawa, and Mika Matsuzaki, 29th Annual Meeting of the Japan Society for the Conservation of Cultural Property, 2007
“Construction of Multispectral False-Color Images Using Ultraviolet-Induced Fluorescence and Reflected Ultraviolet Imaging,” by Satoru Hamaya, 31st Annual Meeting of the Japan Society for the Conservation of Cultural Property, 2009
“Proposal of a Color Reference Sample as a New Indicator for Investigative Photography
,” by Satoru Hamaya, 32nd Annual Meeting of the Japan Society for the Conservation of Cultural Property, 2010
Future Prospects
Future activities will include the systematic organization and documentation of the technical processes and considerations involved in the replication of classical paintings. In addition, continued production of test samples with varying specifications will be pursued.
Visual examinations and the publication of results based on these artworks and samples will also be undertaken. The focus will be on Italian paintings from the Middle Ages through the Renaissance and Baroque periods.
Through these efforts, the study aims to demonstrate the effectiveness and applicability of visual examination techniques and contribute to the advancement of survey methodologies in the field of conservation and restoration.
References
(1) Thea Jirat Wasiutynski, Chapter 6: Visual Examination, Paper Conservation Catalog, 3rd edition, 1984–1994.
(2) Alfredo Aldrovandi, Maria Luisa Altamura, Maria Teresa Cianfanelli, Patrizia Riitano, “I materiali pittorici: tavolette campione per la caratterizzazione mediante analisi multispettrale,” OPD Restauro, No. 8, 1996, pp. 191–210.