Investigation of the technological features of the picture - Форум по искусству и инвестициям в искусство

Евгений · 12-11-2008, 08:02

Interesting and useful articles (in particular: the signature on dry).
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.... A special case study of the paint layer is the study of signatures on the paintings. Since the artist's signature is usually, though not always fairly, the argument for attribution should be more focus on the specifics of its analysis.

Читать дальше...

Creation of a medieval master was not supposed to be printing individuality. Eventually, when the works were often not valued in themselves, but in connection with the name of their creator, the master began to put the picture his name, a monogram, symbol. However, when the signature, standing in the picture, was not only a sign of status, but also a guarantee of quality, a factor that determines the price of the product, there was a falsification of signatures, their forgery.
The challenge to the signature pattern does not always indicate that the picture is really written this master. It is known that from the workshops Cranach, Titian, Rubens and other painters out works to which the master had barely touched a brush. Nevertheless, these paintings were considered their works, were supplied with their signature. At the same time acknowledge the signature on the painting a fake does not mean unoriginality of the work. Often, the original paintings were supplied with a false signature of the master for the greater credibility, often the master signed his painting for many years after its creation, when the handwriting and signature character could change, but the picture is very old animal. There are cases when, wishing to hide the true value of the work, the owner put her signature little-known painter, etc., etc. Given all this, for many experts of the last century diverted signing a modest role in the attribution of the paintings. Nevertheless (or precisely because of this) the signature must always be the object of study examines the work.
A very large, and in many cases is crucial in determining the authenticity of the signature of its study under a binocular microscope with different magnification and different lighting. The nature of letter writing, their relation to the basic layer of colorful, brush stroke, mikrokrakelyur in place of a signature and other details specific to the site of the work, should be subject to the most careful observation and comparison. In many cases, the appropriate conduct of macro-and microphotography of the signature or of its individual parts .........
-------------------------------------------------- ---------
.... Well-known, though not decisive, as is sometimes believed, the value is the location of the signature: if it is under the varnish, or affixed on top of it, that is, how closely linked it with the original painting.
Painted under a layer of old varnish signatures and inscriptions can sometimes be detected by infrared rays. It must, however, to stress once again that the identification of the old signature, even under the account or under the other signature is not necessarily indicative of its authenticity. Intentional slight brushing false signature - a well-known method counterfeiters, calculated that the signature will be "accidentally" found during the washing of painting and confirm the "authenticity" paintings.
An important point in the process of studying the paint layer is to determine its safety. What is it explorer - with the author's paintings or her likeness recreated hand restorer, which plots painting survived intact, and which are rewritten? Needless to say, how important it is to get the correct answer to such questions in the course of, for example, the attribution of the painting.
Determination of safety of the paint layer would be best to start with his views in light of the visible luminescence, excited by ultraviolet radiation. If the picture in the light of luminescence emitted uniform milky-blue light, in which the image appears as a disguised transparent cigarette paper, one can conclude that the painting is well preserved. Some dark spots on the background luminescence lacquer surface may indicate worn or partial loss of lacquer on the small retouch on stony ground and breaking the paint layer. Lots of paint layer subjected to restoration records and toning lacquer surface, clearly visible in the light of luminescence by visual inspection pictures and photos in the form of dark spots showing the location and size of records. We can distinguish toning and under a layer of varnish: if the latter is not very thick and not too decomposed, such toning look much paler than that made by polish ....
http://www.art-con.ru/node/288

Art Consulting · 18-11-2008, 12:57

Eugene,
Signed, this is mostly a hoax. Definitely can say that the signature is the author, if it is marked "on the wet, not to be confused with" softened ":-)
According to our statistics, caused by wet podpisey1-2%, caused by dry, but to coincide with the main colorful layer of 10-15%. Most of the signature painted much later, and take them into account is meaningless. But many critics, it is still turning a blind eye to the technology, wrote that the signature is identical to the author's autograph, great difficulty is to convince them that this phrase is meaningless and that introduces all the more confusing. Stylistic, art criticism the analysis should be based on recognition of copyright in a work underscore, rather than a signature, and even less in the inscription on the back of the work. I would like to add: So let us drink it :-)

Евгений · 18-11-2008, 13:17

Art Consulting, this (article) for beginners collectors and art dealers.

-------------------------------------------------- ----
Could you please advise: where you can do expert on metal, enamel (to determine the age? "), Or those just engaged in archaeological institutes? If Russia experts on this subject?

Art Consulting · 18-11-2008, 13:22

Eugene,
Metal VNIIR likely you will need to turn to Dubrovin he technologist.
For enamel can we.
If bronze, fine art - Andrew Gilodo Akimovich.

Евгений · 18-11-2008, 13:26

Quote:

Originally Posted by Art Consulting

Metal VNIIR

They do not do .. Dubrovin, it seems the restorer of metallu.VNIIR I personally do not like, behind the life exactly 50 years.

Quote:

Originally Posted by Art Consulting

According to enamel

What time you define mozhite (temporary).? And if you can in a nutshell how?

Art Consulting · 18-11-2008, 13:47

Eugene,
In fact, a complex question. Full table of bindings nobody was building. Theoretically, tehnikotehnologicheskim analysis for metals involved VNIIR - Dubrovin, as I told you and wrote. They have a few tables on the ligated elements. There is a laboratory in the Museum of Archeology, but it is not clear whether they have any data. But a serious examination of the metal and enamel nobody else does. Most likely, because it can be done only destructive method otkovyryat piece of enamel, rub it and determine the chemical composition, and in accordance with the tables, which in practice is not to determine when it may appear. We can try to determine the age, if the layer of varnish is a thin and pigments in the enamel will be those who will give the dating. Why such complexity, with all the DPI is much easier to refer to Gilodo Andrew Akimovich, you can reset the phone in lichku.

Евгений · 18-11-2008, 13:50

Quote:

Originally Posted by Art Consulting

Gilodo Andrew Akimovich, you can reset the phone in lichku.

Thank sbrosti .. talk it over with him.

[color="# 666686"]Added after 2 minutes[/color]
Art Consulting, A archaeologists (the technology for metal) you have no chance in the database?

12-11-2008, 08:02	Original language: Russian #1
Евгений Гуру Join Date: Jun 2008 Posts: 14,663 Thanks: 18,865 Thanked 16,456 Times in 4,506 Posts Blog Entries: 254 Reputation: 32443	Investigation of the technological features of the picture Interesting and useful articles (in particular: the signature on dry). -------------------------------------------------- ---- .... A special case study of the paint layer is the study of signatures on the paintings. Since the artist's signature is usually, though not always fairly, the argument for attribution should be more focus on the specifics of its analysis. Читать дальше... Creation of a medieval master was not supposed to be printing individuality. Eventually, when the works were often not valued in themselves, but in connection with the name of their creator, the master began to put the picture his name, a monogram, symbol. However, when the signature, standing in the picture, was not only a sign of status, but also a guarantee of quality, a factor that determines the price of the product, there was a falsification of signatures, their forgery. The challenge to the signature pattern does not always indicate that the picture is really written this master. It is known that from the workshops Cranach, Titian, Rubens and other painters out works to which the master had barely touched a brush. Nevertheless, these paintings were considered their works, were supplied with their signature. At the same time acknowledge the signature on the painting a fake does not mean unoriginality of the work. Often, the original paintings were supplied with a false signature of the master for the greater credibility, often the master signed his painting for many years after its creation, when the handwriting and signature character could change, but the picture is very old animal. There are cases when, wishing to hide the true value of the work, the owner put her signature little-known painter, etc., etc. Given all this, for many experts of the last century diverted signing a modest role in the attribution of the paintings. Nevertheless (or precisely because of this) the signature must always be the object of study examines the work. A very large, and in many cases is crucial in determining the authenticity of the signature of its study under a binocular microscope with different magnification and different lighting. The nature of letter writing, their relation to the basic layer of colorful, brush stroke, mikrokrakelyur in place of a signature and other details specific to the site of the work, should be subject to the most careful observation and comparison. In many cases, the appropriate conduct of macro-and microphotography of the signature or of its individual parts ......... -------------------------------------------------- --------- .... Well-known, though not decisive, as is sometimes believed, the value is the location of the signature: if it is under the varnish, or affixed on top of it, that is, how closely linked it with the original painting. Painted under a layer of old varnish signatures and inscriptions can sometimes be detected by infrared rays. It must, however, to stress once again that the identification of the old signature, even under the account or under the other signature is not necessarily indicative of its authenticity. Intentional slight brushing false signature - a well-known method counterfeiters, calculated that the signature will be "accidentally" found during the washing of painting and confirm the "authenticity" paintings. An important point in the process of studying the paint layer is to determine its safety. What is it explorer - with the author's paintings or her likeness recreated hand restorer, which plots painting survived intact, and which are rewritten? Needless to say, how important it is to get the correct answer to such questions in the course of, for example, the attribution of the painting. Determination of safety of the paint layer would be best to start with his views in light of the visible luminescence, excited by ultraviolet radiation. If the picture in the light of luminescence emitted uniform milky-blue light, in which the image appears as a disguised transparent cigarette paper, one can conclude that the painting is well preserved. Some dark spots on the background luminescence lacquer surface may indicate worn or partial loss of lacquer on the small retouch on stony ground and breaking the paint layer. Lots of paint layer subjected to restoration records and toning lacquer surface, clearly visible in the light of luminescence by visual inspection pictures and photos in the form of dark spots showing the location and size of records. We can distinguish toning and under a layer of varnish: if the latter is not very thick and not too decomposed, such toning look much paler than that made by polish .... http://www.art-con.ru/node/288

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18-11-2008, 12:57	Original language: Russian #2
Art Consulting Местный Join Date: Sep 2008 Posts: 163 Thanks: 70 Thanked 187 Times in 69 Posts Reputation: 679	Eugene, Signed, this is mostly a hoax. Definitely can say that the signature is the author, if it is marked "on the wet, not to be confused with" softened ":-) According to our statistics, caused by wet podpisey1-2%, caused by dry, but to coincide with the main colorful layer of 10-15%. Most of the signature painted much later, and take them into account is meaningless. But many critics, it is still turning a blind eye to the technology, wrote that the signature is identical to the author's autograph, great difficulty is to convince them that this phrase is meaningless and that introduces all the more confusing. Stylistic, art criticism the analysis should be based on recognition of copyright in a work underscore, rather than a signature, and even less in the inscription on the back of the work. I would like to add: So let us drink it :-)

18-11-2008, 13:17	Original language: Russian #3
Евгений Гуру Join Date: Jun 2008 Posts: 14,663 Thanks: 18,865 Thanked 16,456 Times in 4,506 Posts Blog Entries: 254 Reputation: 32443	Art Consulting, this (article) for beginners collectors and art dealers. -------------------------------------------------- ---- Could you please advise: where you can do expert on metal, enamel (to determine the age? "), Or those just engaged in archaeological institutes? If Russia experts on this subject?

18-11-2008, 13:22	Original language: Russian #4
Art Consulting Местный Join Date: Sep 2008 Posts: 163 Thanks: 70 Thanked 187 Times in 69 Posts Reputation: 679	Eugene, Metal VNIIR likely you will need to turn to Dubrovin he technologist. For enamel can we. If bronze, fine art - Andrew Gilodo Akimovich.

18-11-2008, 13:47	Original language: Russian #6
Art Consulting Местный Join Date: Sep 2008 Posts: 163 Thanks: 70 Thanked 187 Times in 69 Posts Reputation: 679	Eugene, In fact, a complex question. Full table of bindings nobody was building. Theoretically, tehnikotehnologicheskim analysis for metals involved VNIIR - Dubrovin, as I told you and wrote. They have a few tables on the ligated elements. There is a laboratory in the Museum of Archeology, but it is not clear whether they have any data. But a serious examination of the metal and enamel nobody else does. Most likely, because it can be done only destructive method otkovyryat piece of enamel, rub it and determine the chemical composition, and in accordance with the tables, which in practice is not to determine when it may appear. We can try to determine the age, if the layer of varnish is a thin and pigments in the enamel will be those who will give the dating. Why such complexity, with all the DPI is much easier to refer to Gilodo Andrew Akimovich, you can reset the phone in lichku.