The ability to digitally remove the varnish layer during the pre-conservation diagnostic of a painting, without any chemical or physical intervention, could be an advantage because it enables the prediction of the outcome of the cleaning procedure of the protective layer and contributes to the treatment proposal. Two paintings from Adriano de Sousa Lopes were investigated by hyperspectral imaging in the visible...
The choice of chromatic reintegration materials for contemporary monochromatic oil and acrylic emulsion unvarnished paints is usually a problem before treatment. This kind of paintings maybe subject to abrasions, especially on the edges, fingerprints and smudges, mainly caused during handling. Being unvarnished works, chromatic reintegration becomes a more complex process as no protective layer exist over the p...
The ability to digitally remove the varnish layer during the pre-conservation diagnostic of a painting, without any chemical or physical intervention, could be an advantage because it enables the prediction of the outcome of the cleaning procedure of the protective layer and contributes to the treatment proposal. Two paintings from Adriano de Sousa Lopes were investigated by hyperspectral imaging in the visible...
The visual perception of the professional of conservation and restoration is essential in the chromatic reintegration practice. At this stage the conservator‑restorer must be able to distinguish different hues and shades around the loss and even in the totality of the artwork. However, these physiological capabilities are rarely considered when initiating training in the sector, and there are many students and ...
The neural correlates of visual awareness are elusive because of its fleeting nature. Here we have addressed this issue by using single trial statistical ‘‘brain reading’’ of neurophysiological event related (ERP) signatures of conscious perception of visual attributes with different levels of saliency. Behavioral reports were taken at every trial in 4 experiments addressing conscious access to color, luminance...
A perceção visual do profissional de conservação e restauro é fundamental na prática da reintegração cromática. Nesta etapa o conservador?restaurador tem de conseguir distinguir diferentes matizes em torno da lacuna e, inclusive, na totalidade da obra. Todavia, estas capacidades fisiológicas raramente são consideradas quando se inicia a formação no sector, e muitos são os alunos e profissionais de conservação e...