| Grant number: | 12/00202-0 |
| Support Opportunities: | Regular Research Grants |
| Start date: | April 01, 2012 |
| End date: | March 31, 2014 |
| Field of knowledge: | Physical Sciences and Mathematics - Physics - Nuclear Physics |
| Principal Investigator: | Márcia de Almeida Rizzutto |
| Grantee: | Márcia de Almeida Rizzutto |
| Host Institution: | Instituto de Física (IF). Universidade de São Paulo (USP). São Paulo , SP, Brazil |
| Associated researchers: | Ana Gonçalves Magalhães ; Augusto Camara Neiva ; Manfredo Harri Tabacniks ; Nemitala Added ; Tiago Fiorini da Silva |
Abstract
The close collaboration between scientists, conservators, restorers, curators and art historians have been effective and valuable for scientific research in different museums in the world. Scientific research into works of art are routinely performed in Europe and the United States for several decades, in Brazil a few scientific studies began in the late 90's. A methodical investigation of a work helps us understand the materials and techniques that were used to create it, and what happened to it over time. Interpret the information obtained through the scientific analysis, in conjunction with the knowledge of art history allows us to place the "object" within the context of his own time, and understand it as we see today.Since 2003 the group of applied physics accelerators (GFAA) at the Physics Institute of USP has developed several non-destructive methodologies to be used in the characterization and analysis of works of art, archaeological and cultural heritage. The analysis methods include atomic-nuclear techniques and imaging processes. Some works have already been developed between the GFAA and the Univertisy of Sao Paulo museums and the Pinacoteca do Estado de Sao Paulo.The atomic-nuclear techniques currently used by the group of applied physics are PIXE and PIGE (Particle Induced X-ray (or gama-ray) Emission as well as X-Ray Fluorescence (XRF), RBS (Rutherford Back-Scattering). These atomic-nuclear techniques are useful for identify and characterize the elements present in the surface layers of materials of various kinds such as metals, ceramics and pigments used by the artist in easel paintings for example. The analysis with XRF method is very suitable for in situ analysis with portable equipment. The GFAA group has also used other non-destructive methodology for the study of art objects, such as techniques using high resolution digital imaging (Image with visible light, near infrared reflectography, Visible Fluorescence with Ultraviolet Radiation, tangential light, transmitted light and radiographic), which can be used to examine and document objects of artistic and cultural heritage. These techniques have allowed to reveal nuances of the creative process the artist and his work through the analysis of underlying drawings, interventions restoration and can also help in the authenticity of the work. The scientific tests described involve the use of preventive conservation, restoration, conservation science and art history, through a multi and interdisciplinary approach. The results lead us to understand methods and materials used to produce a work of art, is essential for a safe and effective for the treatment of conservation and preservation of the collection, and the story of the artist and work. In this research project we aim to formalize the collaboration with different museums such as the São Paulo Art Gallery, Museum of Contemporary Art, Sao Paulo Museum, Museum of Archaeology and Ethnology and the Institute of Brazilian Studies throught the systematic study and analysis of works of art from their collections such as easel paintings by Brazilian artists, ceramic objects , metal, paper, photographs, etc. In this sense will be used imaging techniques coupled to the elemental characterization of materials. This combination of methodologies can reveal characteristics of the works and artists attached to them. The information obtained will allow construct a database with informations of matters, pigments and manufacturing techniques especially the pigments used by the Brazilian painters. The project is still around to subsidize the training of professionals for interdisciplinary work in this area, enabling them to understand the principles, advantages and limitations of the techniques. (AU)
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