The next edition of the NICAS Colloquium takes place on Thursday, 26 September 2019, from 12:00 to 13:00 in Conference Room B of the Atelier Building (Hobbemastraat 22, Amsterdam).
The chair of this colloquium will be Victor Gonzalez (Rijksmuseum).
The following presentations are scheduled for this edition of the NICAS Colloquium:
Quantifying Optical Properties with OCT Attenuation Analysis
Measuring and quantifying the optical properties of objects in cultural heritage is of both historical and scientific interest. One commonly used technique is Optical Coherence Tomography (OCT). OCT is a non-contact technique used to probe the internal structures of semi-transparent materials. While originally developed for ophthalmology, this technique has been employed to visualize the structures of many materials of interest to cultural heritage researchers such as varnishes and glazes. While OCT images can help to visualize the internal structures, additional information can be extracted which might help to expand the toolset of cultural heritage scientists. One type of analysis - OCT attenuation analysis - examines the rate at which the intensity of the OCT signal decays in depth. This exact rate of decay carries information about the materials that you are measuring and can be used to help discriminate between similar materials. This talk presents an approachable overview of OCT and OCT attenuation analysis and potential application domains such as varnish segmentation and relative density measurements.
Lionel Fiske is a joint PhD candidate in the Applied Mathematics department at Northwestern University in the Computational Photography lab and Department of Biomedical Engineering and Physics at the UVA-AMC. He is interested in using image processing and mathematical modelling to infer physical properties of materials.
Multi-step cleaning approach and technical study of a 17th-century Dutch genre painting by Nicolaes Maes
‘Young women at a cradle’ is an example of an early painting by Nicolaes Maes, painted soon after studying with Rembrandt. The wax-resin lined painting was covered with a thick layer of darkened varnish and washes of retouchings. In order to remove these obscuring layers, Evolon CR® tissue loaded with organic solvents was used, followed by aqueous gels. The latter were based on ‘resin soaps’ suspended in Xanthan gum or on polyvinyl alcohol-borax gels. Alongside the treatment, a technical study of the painting was conducted revealing heretofore unidentified elements: a signature and a painted frame along the top of the painting. The project was part of the internship in Paintings Conservation Studio at the Rijksmuseum under supervision of Gwen Tauber and Nienke Woltman.
Justyna Kędziora is studying Painting Conservation at the Academy of Fine Arts in Krakow, Poland. She also holds a Master’s Degree in Chemistry and in Painting. She is now at the end of her one-year internship at the Rijksmuseum.
Thursday, 26 September 2019
12:00 – 13:00 hrs
Conference Room B, Atelier Building
Hobbemastraat 22, Amsterdam
Hobbemastraat 22 | 1071 ZC AmsterdamGo to detailpage