Science for art: multi-years' evaluations of biocidal efficacy in support of artwork conservation.

In recent decades, the relationship between Science and Art has been gradually strengthened through the use of diagnostic, conservation, and valorization technologies. New technologies can also be used to support the creation and durability of bio-artworks. Within such a context, starting from the Spring of 2014, we performed in situ experimentations to eventually increase the durability of the graphical artwork of William Kentridge on the Lungotevere embankments, whose creation was scheduled in the following years. We applied various combinations and concentrations of three different biocides (Algophase, Biotin R, and Preventol R80) and two water repellents (Hydrophase surfaces and Silo 111) on 34 test areas. However, the artist preferred to leave his artwork to a natural fading. Right before the realization of the graphical artwork "Triumph and Laments of Rome" in 2016, just the black biological colonizations mainly composed of cyanobacteria were removed through pressurized water. We monitored the artist's work through analyses of images and colorimetric variations and such drawings showed a duration of 4 years in the natural conditions of recolonization. Here we show how the recolonization of treated and control areas, analyzed with the same methods, showed an increased duration, 3 years longer than under natural conditions in the case of Preventol R80® and Biotin R® plus Silo 111®. The tested solutions showed differential effectiveness and multiple possibilities of use to support the maintenance of the artwork if the artist wanted to preserve his artwork for a longer period.

Raman, SEM-EDS and XRPD investigations on pre-Columbian Central America "estucado" pottery.

Seventeen different colored fragments from six selected pre-Columbian estucado ceramics from El Salvador have been investigated by Raman spectroscopy, scanning electron microscope coupled to an energy dispersive spectrometer (SEM/EDS) and X-ray powder diffraction (XRPD). The peculiarity of this kind of ceramics consist of the unusual presence of a white engobe, traditionally termed stucco, between the ceramic body and the decoration elements, hence the name estucado ceramics. The aim of this work was to study the unusual manufacturing technique and to identify the chemical composition of the engobe and of the pigment palette. The results showed that the stucco layer is made of clay (kaolinite) with traces of titanium oxide (anatase). Remarkably, this is the same composition of the white pigments used for the decoration layer, thus excluding an early use of natural titanium oxide as a white pigment in the estucado productions as suggested in previous investigations. Moreover, the presence of kaolinite and anatase both in the stucco and in the decoration layer suggests a cold-working or low temperature technique. The red, yellow and green decorations were realized by the use of natural ochre, while in all the blue and gray decorations Maya blue pigment was identified. Finally, an amorphous carbon pigment of vegetal origin and manganese oxide were used to obtain black pigments.