Technical - Experimental Methods Used in Artworks' Expertise

*Verginica Schröder, Daniela Turcanu-Carutiu, Adina Honcea, Rodica-Mariana Ion, Sorin Grigore and Loreley-Dana Jianu*

## **Abstract**

The works of art analyzed in this research study are part of the Ovidius University Gallery collection that ensures the permanent visibility of the research results consisting in the experimental synergistic method as well as the innovative materials intended for restoration and conservation. We are sure that after the scientific investigation, the authentication and restoration of these works of art will increase their value. The synergistic methodology, to which we refer, can be defined as a sum of methods and procedures in the trans- and interdisciplinary field, which introduces the notion of "health" in the field of restoration artworks, changing the paradigm of approach as a whole, analyzing pigments, supports and all the specific painting materials. Nondestructive analytical procedures will be implemented to develop and optimize the conditions for identifying the individual types of biological impact present in works of art and of case studies on real samples. In the research activity, we used the different techniques to investigate and characterize traditional organic binders used in works of art, to see the effect on the consolidation and durability of materials, to test their functionality and usefulness while validating a viable laboratory model in relation to the natural system.

**Keywords:** works of art, synergistic method, biological impact, restoration, integrity

## **1. Introduction**

The paintings submitted for scientific research in order to find the best conservation solutions are at an alarming stage of deterioration, some even in advanced stages. This study focuses on four works of art that each have specific problems different from one another, therefore requiring a differentiated treatment, personalized after an accurate diagnosis is given.

The works in the collection that are the object of the scientific investigation are the following: *Girl with the child*, painted by Vladimir Yegorovich Makovsky, belongs to the Russian School of painting from the nineteenth century; *A miracle of Jesus* attributed to author, Laurent de la Hyre, French School from the seventeenth century; *Adoration of the Shepherds* unknown author, French School from the eighteenth century; and *Shepherd boy with sheep in the forest of the castle*, attributed to author, Wendel Dietterlin, German School from the sixteenth century.

Masterpieces are currently of the Etta Ionescu Art Gallery of the Ovidius University of Constanta and belonged to Mr. Catalin Lazureanu, the last descendant of a large family of art collectors. The son lacking adequate space to keep in good

condition the works of art inherited from his mother Etta, who lost much of the property during the communist period, stored them in small improvised spaces, in boxes, in packages dosed in different spaces of an apartment, in Constanta city.

This study was intended, also, to find new hypotheses regarding authenticity of the paintings, attribute the artworks to the author or one to the school of painting.

For this purpose, were used studies of art history and museology, technical methods, such as: analytical documentation, photographing ultraviolet radiation in the dark room by auto exposure and auto-focus, analyses with Vilber Lourmat Quantum program, Image Master™ technology.

Fluorescence of natural products is an interesting characteristic of many components with application in most fields of biology [1] and the methods of art diagnosis such as the analysis and studies in expertise and conservation [2–4].

Through this UV photography analysis technique, the conservators can carry out identifications and evaluations related to the particularity of pigments [4], the integrity of pigment at surface layers.

You can also assess the age differences of the painted surfaces and identify the restoration areas. This analysis shows that based on the contrast intensity, it is possible to implement an automatic segmentation of the UV image of a retouched painting [5].

The UV radiation interacts with the apparent layer, and the technique has proven to be a nondestructive technique for first evaluation and diagnostic expertise of artworks. UV fluorescence can indeed be used for a preliminary identification of pigments. Some of them are easily distinguished, for example the titanium and zinc white pigments can be recognized with UVR because they display a strong UV absorbance band [6]. In addition, the method is recognized as a useful tool in *in situ* analysis of recently restored wall paintings [7].

Also, this fluorescent property of natural pigments starts a new trend in contemporary art such as the fluorescent painting or the conservation problems of these works [8].

The optical and fluorescence microscopy techniques were used for evaluation of microstructural aspects of painting canvas and the state of degradation and biological activity on the painted surfaces with implications for choosing the conservation method [9].

Also, a combined strategy including the air biological contamination and the isolation of microorganisms from the works of art surfaces were evaluated to determine their biodeterioration potential on canvas and painting pigments.

The biodegradation of oil paintings is a complex process involving multiple phenomena and dynamic interactions between microorganisms and the substrate. Visible phenomena include: the pigmentation of surfaces, the degradation of colors, the penetration into the material, and the modification of its resistance.

Microorganisms induce successive colonization of painted surfaces. These phenomena are accompanied by the presence of specific metabolism compounds (organic or inorganic acids), or enzymes from the extracellular matrix [9], synthesized according to the type of substrate (lipases, esterases, proteases, cellulases, etc.). The isolation and identification of microorganisms, especially of the fungi type, that have cellulolytic action responsible for biodegradation of works of art with natural substrate are of great importance in understanding their degradation [10].

As a result, the details regarding the communities of microorganisms associated with a certain type of painted substrate are of major importance before beginning the process of manipulation (transport, relocation) or restoration.

Another necessary aspect for a good evaluation and intervention in stopping the degradation process and counteracting its effects is the identification of the abioticmicroclimate environment conditions that favor the installation and development of the microorganisms responsible for biodegradation.

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**Figure 1.**

*Technical - Experimental Methods Used in Artworks' Expertise*

**2. The evaluation of works of art in order to identify their** 

Vladimir Yegorovich Makovsky was an important Russian painter. His paintings depict a lyrical, idyllic image of the characters in the compositional scenes, *Girl with the child* (**Figure 1**) being an example in this sense, painted by the artist at the

*Title of artwork,* Girl with the child*, author Vladimir Yegorovich Makovsky (1846-1920), Signed В.* 

*Маковский, dated 1891, oil/canvas, size 70 x 115 cm (cod of painting P17).*

*DOI: http://dx.doi.org/10.5772/intechopen.92682*

**2.1 Description of the studied artworks**

**biodegradation state**

age of 45.
