Discovering Giuseppe Capogrossi: Study of the Painting Materials in Three Works of Art Stored at Galleria Nazionale (Rome)

Nasa, Jacopo La; Moretti, Patrizia; Maniccia, Eleonora; Pizzimenti, Silvia; Colombini, Maria Perla; Miliani, Costanza; Modugno, Francesca; Carnazza, Paola; Luca, Daphne De

doi:10.3390/heritage3030052

Cited by 13 publications

(5 citation statements)

References 45 publications

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“…For this reason, there is no comparative analysis of the material properties of UV-curable oil paintings, which are of interest to developers of polymer-based inks. For example, the references [27,29] discussed the materials component identification of oil paintings by analyzing UV-vis spectroscopy, reflection FT-IR spectroscopy, mass spectrometry, and chromatography, but none of them are sampled at the boundary of the coloring layers. In addition, modifying droplet parameters for the color inks may be a regular way for polymer research to increase print resolution and remove the staircase effect, such as pigment dispersion, curing time, surface tension, and so on.…”

Section: Discussionmentioning

confidence: 99%

“…In addition, as another commonly used high-quality color 3D printing technology, the binder jetting technique consists of color binders and filled powders, even though its staircase effect has been rarely studied in color reproduction [26]. Its powder-based support materials are not suitable for the accurate composition reproduction of oil paintings, because the material reproduction of oil painting is also a challenge that affects accurate color or appearance reproduction [27][28][29]. Therefore, only the material jetting remains to make it possible to reproduce oil paintings with all color types and sizes.…”

Section: Introductionmentioning

confidence: 99%

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3D Printing of Oil Paintings Based on Material Jetting and Its Reduction of Staircase Effect

et al. 2020

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Material jetting is a high-precision and fast 3D printing technique for color 3D objects reproduction, but it also suffers from color accuracy and jagged issues. The UV inks jetting processes based on the polymer jetting principle have been studied from printing materials regarding the parameters in the default layer order, which is prone to staircase effects. In this work, utilizing the Mimaki UV inks jetting system with a variable layer thickness, a new framework to print a photogrammetry-based oil painting 3D model has been proposed with the tunable coloring layer sequence to improve the jagged challenge between adjacent layers. Based on contour tracking, a height-rendering image of the oil painting model is generated, which is further segmented and pasted to the corresponding slicing layers to control the overall printing sequence of coloring layers and white layers. The final results show that photogrammetric models of oil paintings can be printed vividly by UV-curable color polymers, and that the proposed reverse-sequence printing method can significantly improve the staircase effect based on visual assessment and color difference. Finally, the case of polymer-based oil painting 3D printing provides new insights for optimizing color 3D printing processes based on other substrates and print accuracy to improve the corresponding staircase effect.

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Section: Discussionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

3D Printing of Oil Paintings Based on Material Jetting and Its Reduction of Staircase Effect

et al. 2020

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“…At the same time, artwork's durability, as well as the need to document the manufacturing approach, were no longer regarded as fundamental. Due to this, today, the characterization of contemporary art plays a critical role in the attempt to define artistic methods and trends better while addressing present and future conservation needs [1][2][3][4].…”

Section: Introductionmentioning

confidence: 99%

Preserving the Ephemeral: A Micro-Invasive Study on a Set of Polyurethane Scenic Objects from the 1960s and 1970s

et al. 2023

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Among the innovative materials used by 20th-century artists, polyurethane (PUR) has been shown to be highly unstable, and therefore artworks made of it are now in need of careful conservation strategies. This study presents a multi-analytical investigation of PUR foam scenic objects originally made between the 1960s and 1970s during the Italian Arte Viva movement. The main components in the foam and additives were characterized through micro attenuated total reflectance infrared spectroscopy (μ-ATR-FTIR) and pyrolysis coupled with gas chromatography and mass spectrometry (Py-GC/MS). Painted samples were further investigated through μ-FTIR and Raman spectroscopy to define binders and pigments. The use of μ-ATR-FTIR in combination with evolved gas analysis-mass spectrometry (EGA-MS) allowed the variable conditions of the artworks to be assessed and attained some insights into the chemical processes responsible for aging. At the same time, morphological changes due to the degradation phenomena were recorded through optical (OM) and scanning electron microscopy (SEM). The detailed characterization of the PUR foam and painting materials was helpful in attaining some insights into harmful environmental parameters for the artworks, thus informing preventive conservation.

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“…Heritage 2021, 4 890 the extensive literature, even in recent years, describing analyses conducted on Roman wall paintings [6][7][8][9][10][11][12][13], to the best of our knowledge nothing similar has ever been characterised before. Using microscopic and chemical investigations, we focused on these particular fragments in order to characterise a Roman building technique never described so far in the literature.…”

Section: Introductionmentioning

confidence: 99%

Roman Wall Paintings: Characterisation of Plaster Coats Made of Clay Mud

et al. 2021

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This paper reports on the mineralogical characterisation of samples of wall paintings from various Roman sites in Lombardy (Italy), revealing recurrent types of stratigraphy. One of the stratigraphic samples analysed was found to be a particular kind of plaster: a three-coat work featuring two coats made of clay mud, found in the site of Santa Maria alla Porta (area of the Imperial Palace of Milan—first century CE). The fragments were analysed using optical microscopy on thin sections, X-ray diffraction, scanning electron microscopy with an energy-dispersive spectrometer and infrared spectroscopy, also in non-invasive external reflection mode (7500–375 cm−1). The most interesting feature found was the finish coat made of clay mud (illite, chlorite, kaolinite and fine quartz) with a few coarse clasts and linear cavities. This clay coat was the first example ever detected in Roman Lombardy and was used in combination with a thin painted coat made of clay mud with coarse clasts together with a blue pigment (Egyptian blue) and a render coat made of lime associated with lithic clasts (sand). Our findings brought to light a particular construction technique, since in the historical sources clay is only recommended for daubing on reeds and as a render coat.

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Discovering Giuseppe Capogrossi: Study of the Painting Materials in Three Works of Art Stored at Galleria Nazionale (Rome)

Cited by 13 publications

References 45 publications

3D Printing of Oil Paintings Based on Material Jetting and Its Reduction of Staircase Effect

3D Printing of Oil Paintings Based on Material Jetting and Its Reduction of Staircase Effect

Preserving the Ephemeral: A Micro-Invasive Study on a Set of Polyurethane Scenic Objects from the 1960s and 1970s

Roman Wall Paintings: Characterisation of Plaster Coats Made of Clay Mud

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