|DAY 1||Thursday, 24 September 2015|
|08:00-09:30||Registration and check in at Colégio do Espírito Santo (auditorium until 10:00 / room A after 10:00)|
|10:00-10:35||Plenary Lecturer 1 (auditorium) - COLOUR: reality, perception and evolution - Michel Ratureau|
|10:35-11:30||Coffee break and poster session|
|Room A 131||Room B 124|
|S1: Colour History and symbolism/Painters and workshop practices||S2: Colour materials origin/reproduction/painting techniques|
|11:30-11:50||Artists, materials and techniques of 17th century mural paintings in Alentejo.
|01||Natural Fe-Based geomaterials from the Lessini Mountain (Venetto Italy: a review).
Giovanni Cavallo, Maria Pia Riccardi, Roberto Zorzin
|11:50-12:10||What are the colors of Portuguese Noble House façades? Contributions to their cromatic study.
Ana Veiga and José Aguiar
|02||Madder: from the plant to the museum objects.
Carole Mathe, Jean-Baptiste Mazzitelli, Cathy Viellascazes
|12:10-12:30||The birth of a painter: Estevão Tomás and the great works of the Manueline/Johannine period in Évora.
Antónia Conde e Vitor Serrão
|03||The techniche of blue paint layers in Gdansk paintings from the mid-sixteenth to the end of the eighteenth century.
Justyna Olszewska-Swietlik and Bozena Szmelter-Fauzek
|12:30-12:50||Color as an element in cultural communication between social elites during the iberian period.
Maria Belén Ruiz Ruiz, Julio Romero Noguera, Luis Emilio Vallejo Delgado, Fernando C. Bolívar Galiano
|04||Yellow pigments based on lead, tin and antimony: synthesis, characterization and hue choice in artworks.
C.Pelosi, G.Agresti, P.Baraldi and U.Santamaria
|14:30-14:50||Reconstruting Ferdinand Bauer's 18th century colour chart.
Richard Mulholland and David Howell
|09||Smalt production and Colour Analisis:
Leonor Ferrão, Agnès Le Gac, Márcia Vilarigues, António Candeias
|14:50-15:10||All the Colours of Keith Haring.
Vincenzo Palleschi, E.Grifoni, S.Legnaioli, G.Lorenzetti, L.Marras and S.Pagnotta
|010||The importance of original historic reference materials.
W.Vetter and M.Schreiner
|S3: Colour History and symbolism/Painters and workshop practices I||S4: Colour analysis, authorship and date attribution studies|
|15:10-15:30||Pigments from a paint box from the atelier of the Portuguese painter of the early twentieth century, Aurélia de Sousa.
Maria Aguiar, Ana Calvo, António João Cruz, António Candeias and José Mirão
|013||Shimmering colours. Coloured glazes on silvering in portuguese altarpieces and sculptures.
Tiago Dias, Elsa Murta, Cristina Dias, Vitor Serrão
|15:30-15:40||Decorative surface finishes: bronzing, patina-Antiqua, Verd-Antique in NY Furniture 1810-1830: New -York workshops practices 1810-1830.
|014||Colour and colourants in illuminated manuscripts.
Paola Ricciardi and Stella Panayotova
|15:40-16:00||Colour and fantasy in an eithteenth century ceiling.
Margarida Donas Boto
|015||From the painted colours to the discoverd colour.
E.Grifoni, G.Piachi, P.Palleschi, M.Salvini, S.Legnaioli, G.Lorenzetti, L.Marras, S.Pagnotta and V.Palleschi
|16:30-17:00||Plenary Lecturer 2 ( ROOM A) - Light and Colour: from theory to pratice. José Aguiar and João Pernão|
|19:00||Alentejo de honra with music (welcome cocktail) Teatro Garcia de Resende (19th century)|
|DAY 2||Friday, 25 September 2015|
|09:00-09:35||Plenary Lecturer 3 (ROOM A) - The use of black pigments in the decoration of architectural surfaces in north western Italy. A comparison of different cases study. Marco Zerbinatti|
|S5: Colour analysis, authorship and date attribution studies I||S6: Diagnosis and colour alteration studies in conservation-restauration|
|09:35-09:55||Colour of Algarve exterior stucco ornaments.
Marta Santos, João Pernão, José Aguiar and Miguel Reimão Costa
|019||An Exercise in Fugitivity: investigating the fading of red lake pigments.
Daniela R. Leonard
|09:55-10:15||Technical Examination of Polychromy of St Reinhold Altarpiece from National Museum in Warsaw.
Lucja Brzozowska and Justyna Inga Oslzewska-Swietlik
|020||Understanding the (in)stability of semiconducting pigments via electrochemistry.
Karolien De Wael
|10:15-10:35||Tracking the old colours and the new: Technical and material study of the José de Escovar workshop - mural paintings from the Évora Cathedral.
Yigit Helvaci, Marta Manso, Luis Dias, Ana Cardoso, António Candeias and Milene Gil
|021||Measuring Degradation: The evaluation of Colour Change in Objects with Spectrophotometry.
|10:35-10:55||Changes in Colour of some pigment mixtures used in restoration of paintings.
|10:55-11:30||Coffee break and poster session|
|11:30-11:45||Multi-technical characterization of the pictorial palette of 16th century frescoes from Ribeira Sacra (NW Spain).
Lucía Pereira-Pardo, Beatriz Prieto, Milene Gil, Manuel Ribeiro and Benita Silva
|027||The colour of the granite that built the city of São Paulo, Brazil.
Eliane Aparecida Del Lama, Lauro Kazumi Dehira, Danielle Grossi and Luciane Kuzmickas
|11:45-12:05||Painting Colours: original vs overpaint.
Sofia Gomes, Carolina Ferreira, Glória Nascimento, Luis Piorro, Ana Cardoso, António Candeias and Mercês Lorena
|028||Darkenig of Lead based pigments: the microbiological contribution.
Tânia Rosado, Milene Gil, José Mirão, António Candeias and Ana Teresa Caldeira
|12:05-12:25||Portuguese tin-glazed earthenware from the 17th century: a spectroscopic characterization of pigments, glazes and pastes of the three main production centres.
Luis F.Vieira Ferreira and I.Ferreira Machado
|029||UV stability of ultramarine blue pigment in synthetic paint colors: a preliminary, multi-analytical study.
Valentina Pintus, Anthony J.Baragona and Manfred Schreiner
|12:25-12:45||José de Escovar at Capela das Almas: between the contract and the work.
Catarina Pereira, Margarida Nunes, Cátia Relvas, Marta Manso, Sofia Pessanha, Ana Cardoso, Patricia Monteiro, Vanessa Antunes, Teresa Ferreira and Milene Gil
|030||Color change induced by dry cleaning process on painted surfaces.
Silvia Garcia Fernandez-Villa, Jose M. de la Roja, Margarita San Andrés
|S7: Colour analysis, authorship and date attribution studies I||S8: Science and technology applied to colour heritage|
|14:30-14:50||An unusual mural paintings at the Charola of the Convent of Tomar (Part I).
António Candeias, Milene Gil, Ana Manhita, J.Artur Pestana, Catarina Miguel, Luis Dias, Ana Cardoso, José Mirão and Cristina Dias
|035||Colour spectrophotometry and hyperspectral imaging techniques to determine the suitable graffiti cleaning procedure.
Maria Paula Fiorucci, J.S.Pozo-Antonio, A.Ramil, Ana J.López and T.Rivas
|14:50-15:10||Chromatic analysis applied to heritage architecture of a large town: Barcelona.
Agueda Serra and Joan Casadevall
|036||Hyperspectral imaging on three French medieval illuminations of the XVI century (Treasury of Bordeaux cathedral, France)".
Mounier Aurélie and Daniel Floréal and Denoël
|15:10-15:45||Coffee break and poster session|
|Session 10: Colour documentation and manegement||Session 11: Science and technology applied to colour heritage I|
|15:45-15:55||Precise reproduction of colours in cultural heritage digitization.
Agnieszka Olejnik-Krugly and Przemyslaw Korytkowski
|039||A new hyperspectral imager for studying Egyptian coffins.
Tiziana Cavaleri, M.Pisani and M.Zucco
|15:55-16:15||Color accurate photography of cross-sections of paint samples at the Rijksmuseum in Amsterdam.
Susan Smelt, Lizzy Jongma, Carola van Wijk, Henni van Beek, Rik Klein Gotink and Robert Erdmann
|040||Reflectography analysis on some paintings at the Pinoteca of Ascoli Piceno.
Graziella Roselli, Valeria Corradetti, M.Minicucci, G.Di Girolami, M.Miccoli and M.Martelli
|16:15-16:35||Colour management applied to photographic documentation in the restoration of scientific collections: anatomical wax models.
Alicia Sanchez Ortiz, Luis Castelo Sardina
|041||Hyperspectral imaging applied to the study of paintings.
|16:35-16:55||Computer match pigment selection for ceramic glaze restoration.
Norman H. Tennent, Isabelle Garachon, Bodill Lamain, James H. Nobbs
|042||The study of pigments by Diffusive Reflectance Spectroscopy (DRS). Applications to restoration and fine arts.
Andrei Hrib, Felicia Iacomi, Carmen Mâta, Octaviana Marincas and Mihai Hrib
|16:55-17:15||Chromatic essay for characterization of losses for the chromatic reintegration process of cultural heritage.
Ana Bailão , Frederico Henriques, Susana Mendes, Alexandre Gonçalves
|043||Colorimetric measurements of different variants of verdigris: powder and bound pigments.
Margarita San Andrés , N.Nancho, S.Santos, J.M. de La Roja
|17:15-17:45||Plenary Lecturer 4 (ROOM A) - Innovative and Sustainable Technical Art Examination and Color Documentation Antonino Cosentino|
|19:00-21:00||Guided visit to the Museum of Évora colourful collection|
|DAY 3||Saturday, 26 September 2015|
|09:00-09:35||Plenary Lecturer 5 (ROOM A) - Analytical Archaeometry: trends and prospects. Peter Vandenabeele and Luc Moens|
|S12: Colour physics and virtual reconstructions|
|09:35-09:55||LED Museum Lightting: Colour Quality and Artwork Preservation.
Ferenc Szabo, Zs.Wierdl, P.Csuti
|09:55-10:15||Implement lighting policy for vulnerable artwork.
|10:15-10:45||Coffee break and poster session|
|10:45-10:55||A new online tool to detect colour misconceptions.
Francisco Luis Naranjo Correa, G.Martínez, A.L.Pérez, M.I.Suero and P.J.Pardo
|10:35-10:55||Reconstruction of Wall Paintings at Herculaneum.
Katelin Fallon, Cindie Kehlet, Philippe Zarrazin and Elenora Del Frederico
|14:00-18:00||Guiding Visit to Casas Pintadas and Paço de São Miguel (16th-17th century)|
|P 01||The man behind the work of art. A short biography of the painters working in Évora during the 16th and 17th century.
Custódia Araujo, Antónia Conde and Milene Gil
|P 02||Pre-Hispanic pigments and Italian Renaissance designs at Spanish Colonial Missions Churches in Northern Mexico.
Karla Munoz-Alcocer, Laura Fuster-López, Andrea Pizzarro-Medina
|P 03||Color, texture, material and shape in the configuration space of the Royal Ordnance Factory of Seville
Maria Dolores Robador González , A. Albardonedo and J. L. Perez-Rodríguez
|P 04||Colouration capabilities in cover and floor tiles for ancient materials rehabilitation: Traditional and waste sources.
Jesus M. Rincón
|P 05||"The role of underlayers in the 1685-smalt coating of the main altarpiece of the Coimbra Old Cathedral".
Agnès Le Gac, Catarina Miguel, Cristina Dias, Ana Isabel Seruya and António Candeias
|P 06||"Synthesis of yellow and red ochre:recipes and recognition techniques in works of art.
Michaela Botticelli, G.Appolloni, A.Candeias, J.Mirão and A. Maras
|P 07||Colour material identification helping on dating issues - A Post-Byzantine Icon from the Museum of Évora.
Maria Oliveira, M. Teresa Crespo, António Candeias, Luis Dias, Ana Manhita
|P 08||The "Pentecost" of Museu Nacional de Arte Antiga. The issue of colour of Virgin mantle.
Débora Sarmento, Alexandra Oliveira, Carla Rêgo, Mercês Lorena
|P 09||"19th c. coloured stuccos and plasters from Grilo's Church (Oporto, Portugal): materials and techniques employed"
Eunice Salavessa, António Candeias, José Mirão, Luis M-O-Sousa, Nelson Duarte, Said Jalali and Joana Salgueiro
|P 10||Shedding light on Gregório Lopes palette: a multi-analytical approach for the characterization of painting materials used in the 'Ressurreição do Mancebo'.
Francesca Sabatini, Ana Cardoso, Rita Vaz Freire, António Candeias, Cristina Barrocas Dias
|P 11||The colour of "golden" leaf - a new insight into the condition and colorimetric parameters of gilded composites during ageing.
Irina Crina Anca Sandu, Francesca Paba, Luis Dias, Maura Fugazzoto
|P 12||Chromatic characterization of the Codex Borbonicus.
Anne Michelin, Fabien Pottier, Christine Andraud and Bertrand Lavédrine
|P 13||New insights into the red and green pigments in the illuminated foral charter of Setubal (1515-Portugal) by combined use of micro-XRF and micro-Raman.
Maria Luisa Carvalho, Mauro Guerra, Camila Mortari, Agnès Le Gac, Marta Manso and Stephane Longelin
|P 14||Colour and parchment degradation in a 15th century book of hours: the case study of Cofre no. 31 from Palácio Nacional de Mafra.
Isamara Carvalho, Joana Bulcão, Conceição Casanova, Rita Araújo, Ana Lemos
|P 15||Attempts in enzymatic degradation of the pigmentation produced by fungi isolated from Portuguese wall paintings.
Alexandra Marco, Moreira, P.R., Pintado, M. and Vieira, E.
|P 16||Development of hyperrealistic simulations to teach concepts about colours.
Maria Guadalupe Martinez-Borreguero, F.L. Naranjo, A.L. Pérez and M.I. Suero
|P 17||Colour-based automatic detection of worn out varnishes on Stradivari violins.
Maurizio Licchelli, Piercarlo Dondi, Luca Lombardi, Marco Malagodi and Fausto Cacciatori
|P 18||As white as the light- the bright effects on white chalk ground layers of the 15th and 16th centuries paintings.
Vanessa Antunes, António Candeias, Maria José Oliveira, Maria Luísa Carvalho, Ana Isabel Seruya, João Coroado, Luis Dias, José Mirão, Vitor Serrão
|P 19||Color Space Path Analyses of Paper Color.
José Rogério de O. Campos, Ricardo E. de Souza and Henry L. Sullasi
|P 20||Colorimetric research of various old lithic materials treated with hydrophobic pellicle, in view of their restoration and consolidation.
Vasile Pelin, Ion Sandu, Mihai Branzila, Viorica Vasilache, Eugen Bors, Ioan Gabriel Sandu
|P 21||Analyses of Alfredo Volpi's paintings with EDXRF, spectrophotometer and multispectral imaging.
Eva K. Mori, E.A. Del Lama, M.A. Rizzutto, E.M. Kajiya and P.H.O.V. Campos.
|P 22|| Visible and false-color infrared images for pigment identification in artworks.
Ana-Maria Zahariade and Olimpia-Hinamatsuri Barbu
|P 23||"Different methods of oil analysis in oil paints".
Pedro Caetano Alves, Paulo J. Amorim Madeira and Helena Florêncio
|P 24||Exploring the potencialities of portable microscopy in technical and material studies in mural paintings. An affordable tool for conservators-restorers.
Milene Gil, Lucia Pereira, Cecilia Laurita, Marta Manso, Sofia Pessanha, António Candeias
|P 25||Aesthetic and technical considerations on conservation of the decorative registry from the Romanian folk pottery.
Simona Violeta Gheorghe
|P 26||Chemical and textural characterization of ceramic tiles from Talavera de la Reina production in Évora.
Cátia Relvas, Margarida Nunes, Celso Mangucci, António Candeias, José Mirão e Teresa Ferreira
|P 27||"HPLC-DAD-MS and LDI-MS strategies for anthraquinoid lakes identification in paint samples for anthraquinoid lakes identification in paint samples".
Francesca Sabatini, Anna Lluveras-Tenorio, Ilaria Degano, Stepanka Kuckova, Maria Perla Colombini
|P 28||Proteic binders in Art: approaches for immunodetection.
Cátia Salvador, Branco A. , Candeias A., Caldeira A.T.
|P 29||An unusual mural paintings at the Charola of the Convent of Tomar (PartII). The Binder.
Ana Manhita, Sergio Martins, Ana Cardoso, António Candeias, Cristina Barrocas Dias and Milene Gil
|P 30||Restoration: Surface and Colour.
|P 31||Characterization of 19th century photographic materials by non-invasive analytical techniques.
Evan Maina Maingi, Margarida Nunes, Cátia Relvas, Sónia Costa, Catarina Miguel, Teresa Ferreira
|P 32||Behind the glass: Analytical and microbiological study of photographic glass plates.
Margarida Nunes, Miguel Santos, Cátia Relvas, Sónia Costa, Catarina Miguel, Ana Teresa Caldeira, Teresa Ferreira
|P 33||Investigation on the materials and degradation of cellulose acetate negatives.
Cátia Coelho, Cátia Relvas, Ana T. Caldeira and Teresa Ferreira
|P 34||Color watch - monitoring change of color appearance of medieval mosaic.
Jaroslav Valach, Vladimír Kocour, Veronika Petránová, Petr Sasek