The Use of TRI-Funori® as a Binding Medium for Chromatic Reintegration in Contemporary Unvarnished Paintings

Authors

DOI:

https://doi.org/10.37522/aaav.108.2023.147

Keywords:

chromatic reintegration, TRI-Funori, unvarnished paintings, contemporary painting, color matching, organic pigments

Abstract

Each material is suited to the different paint material characteristics and pictorial techniques of various artworks by contributing to the pictorial surface’s stability and visual unity, and the ability to display it without interruption. For this article, the polysaccharide TRI-Funori was tested and used as a binding medium for chromatic reintegration in three oil and acrylic mockups of the artwork by Portuguese artist Jorge Martins. This choice was based on characteristics such as compatibility, low toxicity, water-based properties, and good visual properties for color matching. Advantages such as transparency and less tendency to yellow, capacity to dry matte, and ease of removal were observed. It presents good dispersion of inorganic pigments, good visual properties, and good adhesion to oil and acrylic surfaces with or without preparation. However, it also presents disadvantages such as weak dispersion of organic pigments, for example [PB15] Phthalocyanine Blue or [PR83] Carmine Rose, and the tendency to become powdery. During the drying process, it tends to lighten, making the color adjustment process difficult.

The mimetic method, achieved with small dots, was used for retouching. The medium was applied with Ferrario® pigmenti puri and Winsor & Newton® powdered pigments, and chromatic reintegration was carried out with a fine brush Winsor & Newton® Finest Sable no1.

Author Biographies

Marta Aleixo, Faculty of Fine Arts of University of Lisbon, Portugal

was born in 1995 in Lisbon, Portugal. She graduated in sciences of art and heritage and received her master’s degree in the science of conservation, restoration, and production of contemporary art from the Faculty of Fine Arts of the University of Lisbon with her dissertation focused on chromatic reintegration in contemporary art. She is currently in her first PhD year in fine arts with the specialty of sciences of art and heritage at the same institution.

Ana Bailão, Faculty of Fine Arts of University of Lisbon, Portugal

is an assistant professor at the Faculty of Fine Arts of the University of Lisbon, Sciences of Art and Heritage Department. She is the coordinator of the science of conservation, restoration, and production of contemporary Art master’s program of the same university. She has a PhD in Conservation of Cultural Heritage from the Portuguese Catholic University in collaboration with the Centro de Investigação em Ciência e Tecnologia das Artes (CITAR) and the Instituto del Patrimonio Cultural de España (IPCE). Her doctoral research was on criteria and methodologies that might help to enhance the quality of painting retouching. The projects are presented through publications, lectures, exhibitions, and presentations. She is the founder of the RECH Group (http://rechgroup. pt/), which provides a framework within which conservation specialists can meet and work at an interdisciplinary level regarding the retouching process.

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Published

20/03/2023

How to Cite

Aleixo, M., & Bailão, A. (2023). The Use of TRI-Funori® as a Binding Medium for Chromatic Reintegration in Contemporary Unvarnished Paintings. Acta Academiae Artium Vilnensis, (108), 17–33. https://doi.org/10.37522/aaav.108.2023.147