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Sebastiano del Piombo's The Raising of Lazarus was transferred from panel to canvas in 1771. [1] The practice of conserving an unstable painting on panel by transferring it from its original decayed, worm-eaten, cracked, or distorted wood support to canvas or a new panel has been practised since the 18th century. It has now been largely ...
Transfer of panel paintings from an unstable panel to a new support is considered to be a delicate process. This process occurs when there has been a form of degradation in the original panel (possible causes include pest damage, burrowing, warping, or panel thinning).
Schwartzbaum et al. liken the removal of a fresco to the transfer of a panel painting, in that it is generally considered undesirable except as a last resort. "Strappo" involves the removal of only the uppermost pigment-bearing layer; "stacco" is the removal of the fresco and its plaster preparation; "stacco a massello" is the removal of the ...
A panel painting is a painting made on a flat panel of wood, either a single piece or a number of pieces joined together. Until canvas became the more popular support medium in the 16th century, panel painting was the normal method, when not painting directly onto a wall or on vellum (used for miniatures in illuminated manuscripts). Wood panels ...
Transfer of panel paintings This page was last edited on 28 October 2024, at 01:03 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 ...
The conservation-restoration of panel paintings involves preventive and treatment measures taken by paintings conservators to slow deterioration, preserve, and repair damage. Panel paintings consist of a wood support, a ground (linen or parchment sized with glues, resin, and gesso), and an image layer (encaustic, tempera, oil). They are ...
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With paintings, a variety of organic solvents are used, but the most common solvent is water, often with chelating agents, surfactants or salts to control pH. Applying solutions through tissues, gels and sponges is becoming the norm, due to the level of control offered by holding the cleaning system at the upper surface of the art.