segunda-feira, 12 de outubro de 2015

Un musée d'Annapolis Royal veut restaurer d'anciennes peintures murales acadiennes

Des peintures murales d'Acadiens découvertes pendant des travaux dans une ancienne auberge d'Annapolis Royal, en Nouvelle-Écosse, pourraient bientôt être mises en valeur.


Ann Shaftel examine les dessins muraux réalisés par des Acadiens vers 1841 dans un vieil immeuble d'Annapolis Royal. Photo : Heritage Trust Nova Scotia


Les murales sont apparues au cours des années 90, lorsque la société du patrimoine d'Annapolis a acheté le Sinclair Inn. À plus de 300 ans, l'immeuble est considéré comme la plus ancienne construction acadienne encore debout au Canada.

L'immeuble était en mauvais état et de l'eau s'infiltrait par le toit. Cela a quand même eu l'heureux effet de faire tomber des pans de papier peint et de mettre au jour les murales.

Les dessins représentent des bâtiments et une arche et auraient été réalisés vers 1841, selon Wayne Morgan, le gestionnaire du musée que loge maintenant le Sinclair Inn.

Ann Shaftel, diplômée en histoire et en conservation du patrimoine, les a examinés. « C'est une découverte d'une importance nationale », dit-elle. Elle fera une présentation sur les murales le 15 octobre, au musée d'histoire naturelle d'Halifax.

Cette tapisserie au 2e étage cache d'autres dessins.
Photo : Heritage Trust of Nova Scotia

L'Institut canadien de conservation a inspecté l'immeuble et confirmé que d'autres dessins se trouvent sous la tapisserie.

Les dirigeants du musée attendent maintenant une évaluation de la somme nécessaire pour restaurer les dessins et rendre le deuxième étage du musée sécuritaire, pour pouvoir l'ouvrir au public.

Wayne Morgan pense qu'il faudra environ 300 000 $, une somme que le musée pense obtenir grâce à des dons et des subventions.



fonte: @edisonmariotti #edisonmariotti 

http://ici.radio-canada.ca/regions/atlantique/2015/10/08/003-peintures-murales-acadiennes-sinclair-inn-anciennes.shtml

Cultura e conhecimento são ingredientes essenciais para a sociedade.

The Archaeological Museum at Kangra Fort, Kangra, India -- Museu Arqueológico em Kangra Fort, Kangra, India

Kangra Fort, Kangra 


The Archaeological Museum at Kangra Fort, Kangra (H.P.) was opened to the public on 26th January 2002. Located to the east of the fort under its shadow, and overlooking the gorgeous river Banganga, the museum has a moderate collection of stone tools of the prehistoric periods, besides sculptures, architectural members, coins and paintings of the historical periods. All artifacts are classified and arranged in four main Sections in different museum galleries. Over the years, these objects have been acquired from different sources which are all now registered and thoroughly documented. Best among them are put on display.


Section I (Prehistory Section) display s the Lower Paleolithic tools comprising chopper-chopping, unifacial and bifacial stone tools, hand-axes, cleavers, etc. In addition, there are demonstrated translites and charts depicting evolution of man and its various cultural stages. A translite in this Section reveals brief history of Kangra Fort in particular, and that of the Kangra region, in general.


Section II (Sculpture Section) shows an array of Hindu and Jain deities, represented by Shiva, Vishnu, Uma-Maheswar, Ganesh, Hanuman, on one hand, and Jain Tirthankaras, on the other.


Of most noteworthy amongst the Jain sculptures is Lord Adinath, first Jain Tirthankara, which has an inscribed pedestal. The architectural members and fragments displayed in this Section mostly come from Hindu the temples, and include pillar bases, bracket capitals, lintel fragments, etc. Most of these members are the parts of collapsed temples which were destroyed in the massive earthquake occurred in 1905 in entire Kangra region.




Section III (Numismatic Section) displays silver and copper coins of various rulers of different dynasties of the region, namely Hindu Shahi, Katoch as well as Muslims. In addition, there are British period coins. 

Miniature paintings are organized in Section IV (Painting Section). Most of these follow Kangra School of Painting style. Predominant theme of these paintings is Radha & Krishna love scenes inspired from mythological and other legendary sources.

One more added attraction in the museum is a brass miniature dola (miniature palanquin) of goddess Chamunda Devi aslo, which is held in high esteem in entire Kangra region.
Over and above, there is a small reserve collection of sculptures and architectural members, some of which are exquisitely carved fine specimens of sculptural and architectural wealth of the region.




fonte: @edisonmariotti #edisonmariotti 

http://asi.nic.in/asi_museums_kangra.asp

Cultura e conhecimento são ingredientes essenciais para a sociedade.


--br

O Museu Arqueológico em Kangra Fort, Kangra (HP) foi aberto ao público no dia 26 de Janeiro de 2002.

Localizado ao leste do forte sob a sua sombra, e com vista para o lindo rio Banganga, o museu tem uma coleção moderada de ferramentas de pedra de períodos pré-históricos, além de esculturas, membros de arquitectura, moedas e pinturas dos períodos históricos.

Todos os artefatos são classificados e organizados em quatro seções principais em diferentes galerias do museu. Ao longo dos anos, esses objetos foram adquiridos a partir de diferentes fontes que são todos registrados agora e completamente documentadas. Melhor entre eles são colocados em exposição.

Secção I (Secção Pré-História) s exibir as ferramentas Paleolítico Inferior compreendendo helicóptero-corte, ferramentas de pedra unifaciais e bifacial, mão-eixos, cutelos, etc. Além disso, não são demonstradas translites e gráficos que descrevem a evolução do homem e dos seus vários estágios culturais. A TransLite nesta Seção revela breve história de Kangra Fort em particular, e que da região de Kangra, em geral.

Seção II (Seção Escultura) mostra uma série de divindades hindus e jainistas, representada por Shiva, Vishnu, Uma-Maheswar, Ganesh, Hanuman, por um lado, e Jain Tirthankaras, por outro.

Dos mais notáveis ​​entre esculturas Jain é o Senhor Adinath, primeiro Jain Tirthankara, que tem um pedestal inscrito. Os membros e fragmentos arquitetônicos exibidos nesta seção vêm na maior parte dos templos hindus, e incluem bases pilar, capitais suporte, fragmentos de verga, etc. A maioria desses membros são as partes dos templos colapsadas que foram destruídos no terremoto ocorreu em 1905 na região de Kangra inteiro.

Seção III (Seção Numismática) exibe prata e cobre moedas de vários governantes de diferentes dinastias da região, ou seja, o Hindu Shahi, Katoch, bem como muçulmanos. Além disso, existem as moedas período britânico.

Miniatura pinturas são organizados na Seção IV (Pintura Seção). A maioria destes siga Kangra Escola de Pintura estilo. Tema predominante dessas pinturas é Radha e Krishna cenas de amor inspiradas de lendários fontes mitológicas e outros.

Uma atração mais adicional no museu é uma dola bronze em miniatura (palanquim miniatura) da deusa Chamunda Devi aslo, que é tido em alta estima na região Kangra inteiro.

Para além, há uma pequena coleção de esculturas de reservas e membros arquitetônicos, alguns dos quais são muito bem esculpida belos exemplares de riqueza escultórica e arquitectónica da região.

Banbhore or Bhambore (Urdu: بنبهور‎), is an ancient city dating to the 1st century BC located in Sindh, Pakistan. -- Banbhore ou Bhambore (Urdu: بنبهور), é uma cidade antiga que data do primeiro século aC localizado em Sindh, no Paquistão.

The city ruins lie on the N-5 National Highway, east of Karachi. It dates back to the Scytho-Parthian era and was later controlled by Muslims from 8th to 13th century after which it was abandoned. Remains of one of the earliest known mosques in the region dating back to 727 AD are still preserved in the city. In 2004, Department of Archaeology and Museums Pakistan submitted the site for UNESCO World Heritage Sites.



Legacy and importance in Sindh
On 23 April 2014;Sindh government announced to make a new division (consisting of Thatta,Badin and Sujawal) with the name Banbhore Division to highlight historical importance of site.



Location
Banbhore is situated on the northern bank of Gharo creek, about 65 km (40 mi) east of Karachi in the Thatta District of Sindh, Pakistan. The city ruins are located on the N-5 National Highway between Dhabeji and Gharo.


Nueva metodología de restauración para recuperar la flexibilidad del papel vegetal

fonte > colaboração: 
Andrea Zabrieszach Afonso Santos


Esta entrada muestra la experiencia de la restauración de varios dibujos arquitectónicos del Col·legi d’Arquitectes de Catalunya (CoAC) y se centra en la sustitución de barnices en aquellos que eran en papel impregnado. Se ha presentado en el contexto del Symposium Technical Drawings and their Reproductions bajo el título “Sustitución de barnices / aceites en dibujos arquitectónicos en papel impregnado” (La Haya, octubre 2014).

Los papeles vegetales -tan utilizados en dibujos técnicos- tienen en común que son transparentes, pero hay diferencias significativas en su proceso de elaboración. Por consiguiente tanto sus propiedades mecánicas y químicas como su comportamiento, serán también muy diversos. El papel impregnado es un tipo de papel vegetal en el que un aceite o barniz se aplicaba para hacerlo transparente. Los papeles impregnados son muy frágiles y tienen muy poca resistencia mecánica debido a la oxidación que provoca el barniz. Cabe recordar que los aceites se evaporan por un proceso químico (oxidación) y no físico, como el agua. Los barnices también impermeabilizan, impidiendo que la celulosa se ​​hidrate normalmente. Cuando se trata de goma laca, el papel hereda la fragilidad propia de este barniz rígido.


Esta fragilidad puede ser tal que una manipulación cuidadosa implique riesgo de roturas casi inevitable. La pérdida de flexibilidad provoca cortes rectos en los pliegues (foto de la izquierda) y desgarros en las arrugas (las de la derecha). Además, pueden ser incluso más visibles que las mismas líneas del dibujo. Los objetivos de la restauración son:
Detener la oxidación, o incluso revertir parte de su consiguiente acidificación.
Devolverles la flexibilidad perdida.
Mantener estrictamente la escala del dibujo (en el caso de mapas, planos y dibujos técnicos).

La consolidación por medio de adición de capas de papel puede comprometer la transparencia, que se debería mantener en la medida de lo posible, por ello devolver la flexibilidad perdida es tan importante, porque cuanto más flexible sea el papel, más finos podrán ser los papeles que añadamos para reforzar, y la transparencia quedará menos alterada.
El amarilleo no se considera un perjuicio en sí mismo, ya que por norma general permite una correcta lectura del documento (aunque sea el efecto visible de la acidificación no conlleva mayores daños).

TRATAMIENTO:

Quitar el barniz o aceite
Esto detendrá ulterior oxidación y disminuirá en cierta medida el amarillamiento. El barniz se retira por medio de disolventes (dependerá también del tipo de aceite o barniz). Después de esto el papel se vuelve opaco, pero también se posibilita el tratamiento acuoso, si conviene, ya que el papel deja de ser impermeable.


El mismo documento después de quitarle el barniz, queda opaco. Nótese que el fragmento de la izquierda (reverso), muestra sólo la parte coloreada a mano, mientras que el de la derecha (por el anverso), enseña únicamente el delineado a tinta china. La pérdida de transparencia implica perder el efecto de capas que antes teníamos, cuando podíamos ver líneas y coloreado simultáneamente en ambas caras.

Consolidación
Laminación, si es necesario, o simplemente reforzar las áreas más dañadas. El adhesivo utilizado puede ser soluble en agua o no, dependiendo de las demandas del documento (técnica, tamaño, daños…).

Devolver la transparencia perdida
Está claro que usar los productos originales no es recomendable por los daños que conllevan. Pero todavía hay varias opciones posibles: Las resinas sintéticas se pueden utilizar en medios acuosos o no. Sea como sea, estas resinas devolverán la transparencia y también la intensidad de tono.

Izquierda: Detalle antes de restaurar, con desgarros allí donde había pliegues o arrugas.Derecha: Dibujo restaurado, con el papel mucho más flexible. Nótese que el papel es sensiblemente más opaco debido a la adición de una capa de refuerzo en toda la superficie, por el reverso. La acuarela que se había hecho invisible en sacar el barniz vuelve ahora a ser visible.

Obviamente este paso también implica hacer el papel impermeable de nuevo, pero esta vez el barniz será estable en cuanto a Red-Ox y no provocará oxidación, a la vez que confiere suficiente flexibilidad para manipular el documento con seguridad.

Planta del Colegio Valldemia. Plano a lápiz en papel vegetal impregnado. Izquierda: antes de restaurar (uno de los fragmentos de la derecha se conservaba a pesar de que no sale en la foto.Centro: Después de quitar el barniz, lavar y desacidificar. Derecha: Después de barnizar y laminar. La transparencia es perceptible en las lagunas añadidas , de menor gramaje.

Conclusiones:
Características Antes Después Observaciones
Inocuas Transparencia ♣♣♣ ♣♣♣ Está sólo limitada por la adición de capas de resfuerzo, pero no por el varniz.
Intensidad de tono ♣♣♣ ♣♣♣ 
Mantenimiento de la escala (dibujos técnicos) Hay que considerar la posibilidad de tratamientos acuososo en cada caso. La escala se puede mantener estrictamente incluso cuando intervienen procedimientos acuosos, pero deben hacerse siempre pruebas previas.
Amarillamiento ♣♣♣♣ ♣♣♣ Depende del color y la concetración del barniz original, y del grado de oxidación del paper, que hace que las fibras sean también más amarillas.
Dañinas Fragilidad ♣♣♣♣ ♣ Ahora una manipulación normal es posible sin riesgo de rotura.
Acidez ♣♣♣♣ ♣ El pH aumenta unos 2 puntos (alcanzando la neutralidad) siempre que los tratamientos acuosos sean posibles.
Ulterior oxidación ♣♣♣ – La oxidación se detiene en la medida que se retira su causa (es decir, el barniz).







@edisonmariotti #edisonmariotti
http://ritaudina.com/es/2014/10/10/restauracion-dibujos-en-papel-vegetal-impregnado-con-aceites-o-varnices/

Cultura e conhecimento são ingredientes essenciais para a sociedade.



--in

New methodology of restoration to restore flexibility of tracing paper

CoAC technical drawings in paper impregnated with severe frailty (eng. / Cat.)
Replacement-of-oils-on-impregnated-paper-architectural-drawings

This entry shows the experience of the restoration of several architectural drawings of the College of Architects of Catalonia (COAC) and focuses on replacing those varnishes were impregnated paper. It has been presented in the context of the Symposium Technical Drawings and Their Reproductions under "Replacing lacquers / oils impregnated paper architectural drawings" (The Hague, October 2014).

The vegetables used in paper-so-technical drawings have in common that are transparent, but there are significant differences in their manufacturing process. Therefore both mechanical and chemical and their behavior, properties are also very diverse. The impregnated paper is a type of vegetable paper on which an oil or varnish is applied to make it transparent. The impregnated papers are very fragile and have little mechanical strength due to oxidation caused by the varnish. It is recalled that the oils evaporate through a chemical process (oxidation) and not physical, like water. Varnishes also waterproof, preventing normally cellulose hydrate. When it is shellac, the role inherits the fragility of this rigid varnish.

Drawing impregnated tracing paper, we get fragmented due to its fragility lacerations and broken where there were wrinkles, many times more visible than their own line drawing This fragility may be such that careful handling involves almost inevitable risk of breakage. The loss of flexibility leads straight cuts in the folds (pictured left) and tears in wrinkles (the right). They can be even more visible than the same lines of the drawing. The aims of the restoration are:

Stop oxidation, or even reverse some of its subsequent acidification.
Restore lost flexibility.
Keep strictly the drawing scale (in the case of maps, plans and technical drawings).
Consolidation by adding layers of paper can compromise the transparency that should be maintained as far as possible, thereby restoring lost flexibility is so important, because the more flexible the paper, thinner may be papers we add to reinforce, and transparency will be less disturbed.
The yellowing is not considered a subject in itself, as a rule allows a correct reading of the document (even if the visible effects of acidification does not entail further damage).

TREATMENT:

Remove varnish or oil
This stops further oxidation and decrease somewhat yellowing. The varnish is removed by means of solvents (also depend on the type of oil or varnish). After that the paper becomes opaque, but the aqueous workup was also possible, if desired, since paper is no longer waterproof.

After removing the varnish becomes opaque paper
The same document after removing the varnish is opaque. Note that the fragment of the left (reverse) shows only the part colored by hand, while the right (for the front), teaches only the ink delineated. The loss of transparency means losing the layered effect we had, when we could see lines and colored on both sides simultaneously before.

Impregnated paper restauradoConsolidación
Laminating, if necessary, or simply reinforce the most damaged areas. The adhesive used may be soluble in water or not, depending on the demands of the document (technical, size, damage ...).

Restore lost transparency
It is clear that use the original product is not recommended for the damages involved. But there are still several possible options: Synthetic resins can be used in aqueous or non means. Anyway, these resins returned transparency and also the intensity of tone.

Detail before and after (transparency)
Left: Detail before restoring, with tears where there were creases or wrinkles. Right: Drawing restored with much more flexible role. Note that the paper is substantially more opaque due to the addition of a reinforcement layer over the entire surface, by the reverse. Watercolor had become invisible varnish shows now again becomes visible.

Obviously this also involves waterproof paper again, but this time the varnish will be stable in terms of redox and not cause oxidation, while conferring flexibility to manipulate the security document.

Restoration plan in pencil on tracing paper impregnated (plant Valldemia College.).
Plant Valldemia College. Plano pencil on tracing paper impregnated. Left: before restoring (one of the fragments of the right was preserved even though not in the photo center. After removing the paint, wash and deacidify Right.. After varnishing and laminating Transparency is perceptible in the added lagoons, lighter weight.

Conclusions:

Features Before After Remarks
Transparency harmless ♣♣♣ ♣♣♣ is limited only by adding layers of Reinforced, but not by the varnish.
Tone intensity ♣♣♣ ♣♣♣
Maintenance Scale (technical drawings) must consider in each case acuososo treatments. The scale can be maintained even when strictly aqueous processes involved, but preliminary tests should always be done.
♣♣♣♣ ♣♣♣ yellowing and color depends concetración original varnish, and the degree of oxidation of the paper, which causes the fibers are also more yellow.
Fragility harmful ♣♣♣♣ ♣ Now normal handling is possible without risk of breakage.
♣♣♣♣ ♣ acidity pH increases about 2 points (reaching neutrality) aqueous treatments whenever possible.
♣♣♣ further oxidation - Oxidation is stopped as long as the cause is removed (ie, varnish).


филиал Ангарского городского музея. -- Angara branch of the city museum. - Angara filial do museu da cidade. -

зал был открыт в 1995 году как -- филиал Ангарского городского музея. --



Ежегодно в залах музея проходит от двенадцати и более различных выставок. В редких паузах между периодическими выставками экспонируются извлеченные из запасников отдельные фрагменты художественной коллекции музея.

Началом формирования художественной коллекции можно считать 1969 год, когда Московское отделение Государственного музейного фонда безвозмездно передало молодому, только что открывшемуся, Ангарскому музею более 500 произведений живописи, графики и скульптуры советских художников 50-х - начала 60-х годов XX века. 

Авторы этих работ жили и работали в разных городах и республиках Советского Союза. Именно тогда в музее появились живописные пейзажи Е.Е. Моисеенко ("Зимой" 1958 г.) и В.Г. Кокурина ("Переяславль. После базара", 1959г.), большое батальное полотно Н.Е. Присекина ("Волочаевские дни", 1962 г.), портрет кисти Д.К. Свешникова ("Школьница", 60-е годы), жанровые картины Ю.А. Савинова ("В город на заработки", 60-е годы) и А.С. Папикяна ("В горах", 1963 год).

В фонды музея поступили графические работы А.В. Кокорина, М.Г. Ройтера, И.С. Глазунова, книжные иллюстрации Кукрыниксов и Е.М. Рачеева, офорты А.Ф. Пахомова, известная серия офортов "Ленинградцы" Ю.М. Непринцева и многие другие произведения живописи и графики. Тогда же, в 1969-м году, музею было передано и около ста предметов декоративно-прикладного искусства того же периода. дальнейшему формированию коллекции помогали городская и областная администрации, коллекционеры и художники. На сегодняшний день она насчитывает около 1000 экспонатов. 

--
Участники и инвалиды Великой Отечественной войны, воины-интернационалисты, солдаты российской армии; граждане, удостоенные званий героя Советского Союза, Героя Российской Федерации или являющиеся полными кавалерами ордена Славы; дети-сироты, многодетные семьи, неработающие инвалиды 1 и 2 групп. Каждый первый вторник текущего месяца: лица, не достигшие 18 лет; студенты, обучающиеся в образовательных учреждениях Российской Федерации на очной форме обучения.


@edisonmariotti #edisonmariotti
http://clock.angarsk.ru/hall/

Cultura e conhecimento são ingredientes essenciais para a sociedade.


--in

Hall was inaugurated in 1995 as - Angara branch of the city museum. -

Every year, the museum runs from twelve and a variety of exhibitions. In the rare intervals between periodic exhibition presents lessons from the store fragments of the art collection of the museum.

The beginning of the formation of an art collection can be considered in 1969, when the Moscow branch of the State Museum Fund donated to the young, just opened, Angarsk museum more than 500 paintings, drawings and sculptures of Soviet Artists 50's - early 60-ies of XX century.

The authors of these works lived and worked in various cities and republics of the Soviet Union. That's when the museum there scenic landscapes EE Moiseenko ("Winter" in 1958) and VG Kokurina ("Pereyaslavl. After the market", 1959.), A large battle canvas NE Prisekina ("Volochaevskaya days", 1962), portrait by DK Sveshnikov ("Schoolgirl", 60 years), genre paintings YA Savinov ("to the city for work," the 60 years) and AS Papikyan ("In the Mountains", 1963).

 The museum received drawings AV Kokorin, MG Reuter, IS Glazunov, book illustrations and EM Kukryniksy Racheeva, etchings AF Pakhomov, a famous series of etchings "The citizens of Leningrad" YM Neprintsev and many other works of painting and drawing. Then, in 1969, the museum was transferred, and about a hundred items of decorative art of the same period. the future development of the collection helped the city and regional administration, collectors and artists. Today it has about 1000 exhibits.

-
Participants and invalids of the Great Patriotic War, soldiers-internationalists, the soldiers of the Russian army; Citizens awarded the title Hero of the Soviet Union, Hero of the Russian Federation or are full holders of the Order of Glory; orphans, large families, unemployed people with disabilities 1 and 2 groups. Every first Tuesday of the month: a person under 18 years of age; students studying in the educational institutions of the Russian Federation in full-time education.

--br
Hall foi inaugurado em 1995 como - Angara filial do museu da cidade. -

Todos os anos, o museu funciona de doze e uma variedade de exposições. Nos raros intervalos entre exposição periódica apresenta lições dos fragmentos de loja da coleção de arte do museu.

O início da formação de uma coleção de arte pode ser considerada, em 1969, quando a filial de Moscovo do Fundo Museu do Estado doado aos jovens, acaba de abrir, museu Angarsk mais de 500 pinturas, desenhos e esculturas dos soviéticos Artistas 50 - 60 s início do século XX.

Os autores destes trabalhos viveu e trabalhou em várias cidades e repúblicas da União Soviética. É quando o museu há paisagens cênicas EE Moiseenko ("Inverno", em 1958) e VG Kokurina ("Pereyaslavl. Depois que o mercado", 1959.), A grande batalha lona NE Prisekina ("Volochaevskaya dias", 1962), retrato por DK Sveshnikov ("Estudante", 60 anos), pinturas de gênero YA Savinov ("para a cidade para o trabalho," os 60 anos) e AS Papikyan ("nas montanhas", 1963).

 O museu recebeu desenhos AV Kokorin, MG Reuter, IS Glazunov, ilustrações de livros e EM Kukryniksy Racheeva, gravuras AF Pakhomov, uma famosa série de gravuras "Os cidadãos de Leningrado" YM Neprintsev e muitas outras obras de pintura e desenho. Então, em 1969, o museu foi transferido, e cerca de uma centena de peças de artes decorativas do mesmo período. o futuro desenvolvimento da coleção ajudou a cidade e administração regional, colecionadores e artistas. Hoje tem cerca de 1000 exposições.

-
Os participantes e os inválidos da Grande Guerra Patriótica, soldados-internacionalistas, os soldados do exército russo; Cidadãos agraciado com o título de Herói da União Soviética, Herói da Federação Russa ou são titulares de pleno direito da Ordem da Glória; órfãos, famílias numerosas, as pessoas desempregadas com deficiência 1 e 2 grupos. Toda primeira terça-feira do mês: uma pessoa com menos de 18 anos de idade; alunos que estudam nas instituições educacionais da Federação da Rússia no domínio da educação em tempo integral.