Non-invasive techniques applied to the alchemical codex of the State Archive of Florence.

This paper focuses on the application of non-invasive techniques to study a peculiar object, an alchemical codex completely made of lead stored at the State Archive of Florence. The sheets of the codex appeared entirely covered by thick and heterogeneous corrosion patinas for which a restoration was planned for their removal. This activity was supported by analytical investigations to characterise the materials that made up the patinas using non-invasive techniques.

The Tomb of the Diver and the frescoed tombs in Paestum (southern Italy): New insights from a comparative archaeometric study.

The Tomb of the Diver has been subject for many decades of fierce debate among archaeologists and classicists. Since its discovery in 1968, some scholars have considered it a unique example of the lost tradition of Greek painting, others have emphasized Etruscan or Italic parallels. More recently, a possible local production has been suggested.

Contemporary artists' spinel pigments: Non-invasive characterization by means of electronic spectroscopy.

The identification of artistic materials represents a fundamental step in supporting the conservation of cultural heritage objects. The importance of their appropriate characterization is particularly relevant in modern-contemporary art, since they could be affected by the occurrence of rapid changes in chemical formulation over time. This paper focuses on an investigation of a series of contemporary blue-green commercial acrylic paints constituted of spinel pigments, using non-invasive spectroscopic techniques.

Discovering "The Italian Flag" by Fernando Melani (1907-1985).

In the occasion of the celebrations for the 150th anniversary of the founding of Italy (1861-2011), it was decided to analyse the artwork "The Italian Flag" (La Bandiera Italiana) created by the artist Fernando Melani (Pistoia, 1907-1985), one of the precursors of the Poor Art artistic movement in Italy. This project is a follow-up to a previous study which was mainly focused on the pigments and dyes found in his home-studio. The main goal of this paper is to identify a correct diagnostic plan, based on the use of a combination of non-invasive and micro-invasive methodologies, in order to determine the state of preservation and define the best conservation procedures for a contemporary artwork.

The Colors of Keith Haring: A Spectroscopic Study on the Materials of the Mural Painting Tuttomondo and on Reference Contemporary Outdoor Paints.

To date, little attention has been given to the scientific investigation of modern and contemporary mural paintings. This paper reports on: (1) the in situ spectroscopic analyses of the mural Tuttomondo (1989) painted by Keith Haring (1958-1990) in Pisa (Italy); and (2) the laboratory characterization of acrylic paints produced by Caparol Italy GmbH & Co., the original supplier of paint materials to the artist for the mural.

Comparative study of Fourier transform infrared spectroscopy in transmission, attenuated total reflection, and total reflection modes for the analysis of plastics in the cultural heritage field.

This study was completed within the framework of two research projects dealing with the conservation of contemporary artworks. The first is the Seventh Framework Project (FP7) of the European Union, Preservation of Plastic ARTefacts in Museum Collections (POPART), spanning years 2008-2012, and the second is the Italian project funded by the Tuscan Region, Preventive Conservation of Contemporary Art (Conservazione Preventiva dell'Arte Contemporanea (COPAC)), spanning 2011-2013. Both of these programs pointed out the great importance of having noninvasive and portable analytical techniques that can be used to investigate and characterize modern and contemporary artworks, especially those consisting of synthetic polymers.

The artists' materials of Fernando Melani: a precursor of the Poor Art artistic movement in Italy.

A comprehensive understanding of both the chemical composition and physical behaviour of modern materials is an important consideration in devising correct conservation treatments for contemporary artworks. To this end, national and international research projects and networks have been established that deal mainly with the preservation, conservation, and understanding of materials used by contemporary artists. This paper focuses on the self-taught artist Fernando Melani (1907-1985), one of the precursors of the Poor Art artistic movement in Italy, and for the first time provides a scientific viewpoint on the artist's materials and works.