Click For Photo: https://www.popsci.com/sites/popsci.com/files/styles/opengraph_1_91x1/public/images/2019/02/pedernal.jpg?itok=9cmA29RbClick For Photo: https://www.popsci.com/sites/popsci.com/files/styles/655_1x_/public/images/2019/02/pedernal.jpg?itok=sbLFWoz4Click For Photo: https://www.popsci.com/sites/popsci.com/files/styles/655_1x_/public/images/2019/02/okeeffe-hands.jpg?itok=UlxRB7zN
It began with a plea to Marc Walton, a material scientist and co-director of the Center for Scientific Studies in the Arts. A collaboration between Northwestern University and the Art Institute of Chicago, the center’s mission is to help small-scale museums with big-time artifacts preserve their collections. “This is how our lab often works,” Walton says. “We’ll get some strange request from a cultural heritage institution—it’s often an object that has a problem—and we’ll respond to it.” In this case, Dale Kronkright of the Georgia O’Keeffe Museum in Santa Fe reached out about protrusions on many of the artist’s canvases between 1920 and 1950, including the 1941 rendering of Pedernal.
At first, it seemed like a straightforward chemistry project. Simply analyze the materials in the paint, the condition of the canvas, and the environment in which the works are stored for clues, and report back on what might be making these pigments pop. But, Walton said, it quickly became an opportunity for a new kind of technological experiment, with Pedernal as the first subject.
Lot - Tools - Toolkit - Question - Protrusion
“We had a lot of tools in our toolkit to answer that question [of protrusion formation], but they were bulky, they were difficult to transport and set up, so we rethought the...
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