Pictorial reconstruction of Palomino’s ceiling by digital techniques

[EN] The case of the frescos by Palomino in the church of Santos Juanes in Valencia is a challenge that requires new alternatives to traditional mural restoration. Part of the paintings burnt in 1936 were detached and partly relocated in the vault afterwards. One third of the paintings, which were n...

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Detalles Bibliográficos
Autores: Regidor Ros, Jose Luis|||0000-0002-1361-5050, Portilla-Romero, Clara, Valcarcel Andrés, Juan Cayetano|||0000-0002-2072-1476, Roig Picazo, M. Pilar
Tipo de recurso: capítulo de libro
Fecha de publicación:2023
País:España
Institución:Universitat Politècnica de València (UPV)
Repositorio:RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia
Idioma:inglés
OAI Identifier:oai:riunet.upv.es:10251/191535
Acceso en línea:https://riunet.upv.es/handle/10251/191535
Access Level:acceso abierto
Palabra clave:Transferencia de imágenes
Coloreado digital
Restauración digital
Palomino de Castro y Velasco, Antonio (1655–1726)
Digital couloring
Image transfer
Mapping
Digital restoration
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oai_identifier_str oai:riunet.upv.es:10251/191535
network_acronym_str ES
network_name_str España
repository_id_str
dc.title.none.fl_str_mv Pictorial reconstruction of Palomino’s ceiling by digital techniques
title Pictorial reconstruction of Palomino’s ceiling by digital techniques
spellingShingle Pictorial reconstruction of Palomino’s ceiling by digital techniques
Regidor Ros, Jose Luis|||0000-0002-1361-5050
Transferencia de imágenes
Coloreado digital
Restauración digital
Palomino de Castro y Velasco, Antonio (1655–1726)
Digital couloring
Image transfer
Mapping
Digital restoration
title_short Pictorial reconstruction of Palomino’s ceiling by digital techniques
title_full Pictorial reconstruction of Palomino’s ceiling by digital techniques
title_fullStr Pictorial reconstruction of Palomino’s ceiling by digital techniques
title_full_unstemmed Pictorial reconstruction of Palomino’s ceiling by digital techniques
title_sort Pictorial reconstruction of Palomino’s ceiling by digital techniques
dc.creator.none.fl_str_mv Regidor Ros, Jose Luis|||0000-0002-1361-5050
Portilla-Romero, Clara
Valcarcel Andrés, Juan Cayetano|||0000-0002-2072-1476
Roig Picazo, M. Pilar
author Regidor Ros, Jose Luis|||0000-0002-1361-5050
author_facet Regidor Ros, Jose Luis|||0000-0002-1361-5050
Portilla-Romero, Clara
Valcarcel Andrés, Juan Cayetano|||0000-0002-2072-1476
Roig Picazo, M. Pilar
author_role author
author2 Portilla-Romero, Clara
Valcarcel Andrés, Juan Cayetano|||0000-0002-2072-1476
Roig Picazo, M. Pilar
author2_role author
author
author
dc.contributor.none.fl_str_mv Departamento de Conservación y Restauración de Bienes Culturales
Facultad de Bellas Artes
Instituto Universitario de Restauración del Patrimonio
Repositorio Institucional de la Universitat Politècnica de València Riunet
dc.subject.none.fl_str_mv Transferencia de imágenes
Coloreado digital
Restauración digital
Palomino de Castro y Velasco, Antonio (1655–1726)
Digital couloring
Image transfer
Mapping
Digital restoration
topic Transferencia de imágenes
Coloreado digital
Restauración digital
Palomino de Castro y Velasco, Antonio (1655–1726)
Digital couloring
Image transfer
Mapping
Digital restoration
description [EN] The case of the frescos by Palomino in the church of Santos Juanes in Valencia is a challenge that requires new alternatives to traditional mural restoration. Part of the paintings burnt in 1936 were detached and partly relocated in the vault afterwards. One third of the paintings, which were not detached, have been restored. A new phase of intervention has now begun, using a system of aesthetic reconstruction generated by digital images. This technique, already used successfully in a previous intervention, aims to recover the pictorial and functional atmosphere of this religious space.In order to fulfil the goal of trying to give a global solution to Palomino's work, it is necessary to find a chromatic solution to the apse of the church due to the absence of its original frescos. We propose the use of video mapping based on a historical black and white photograph taken by J. Alcon before the fire. Taking chromatic and iconographic references from other pictorial works that are in the same space-time context as the original painting and were executed by the same author, an aesthetic approach to the work would be made through the technique of video mapping. Mapping allows the viewer to see the pictorial and functional values of the artwork, without using an invasive form, and favours a vision of its historical-artistic context. Without physically altering the heritage, the final audiovisual presentation can reach multiple levels of information, helping the observer to understand, for example, the technique and pictorial materiality of the frescos and, at the same time, to discover the different iconographic representations.On the other hand, the successful system realised in the first phase was based on digital treatment of another historical photograph in black and white. This procedure was carried out in several ways such as straightening, rectifying and scaling of historical photograph. After the previous process, the following step was a digital colouring based on the superposition of the captures of the existing fragments to the picture taken by J. Alcon, always taking the colours of the original painting as a reference. The creation of the virtual final image also requires colour management calculations to be transformed into a printed or projected reality. The last step is to print and transfer the image to the wall. This was done with Papelgel®, a temporary support for the transfer of inkjet and pigmented printing inks. In this case the main novelty is the use of an adhesive pattern which improves the transfer of digital print fidelity and maintains the breathability of the wall. In the current phase of intervention, this system is intended to be applied to the rest of the vault once the detached fragments have been relocated to their original position.This project is an important attempt in the search for perfect harmony between the different computing elements. Information technologies offer a new and wide range of possibilities to preserve cultural heritage and participate directly in the intervention processes required for their conservation and restoration.
publishDate 2023
dc.date.none.fl_str_mv 2023
2023-01-11
dc.type.none.fl_str_mv book part
http://purl.org/coar/resource_type/c_3248
VoR
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format bookPart
dc.identifier.none.fl_str_mv https://riunet.upv.es/handle/10251/191535
url https://riunet.upv.es/handle/10251/191535
dc.language.none.fl_str_mv Inglés
eng
language_invalid_str_mv Inglés
language eng
dc.rights.none.fl_str_mv open access
http://purl.org/coar/access_right/c_abf2
Reconocimiento - No comercial - Compartir igual (by-nc-sa)
http://creativecommons.org/licenses/by-nc-sa/4.0/
dc.rights.openaire.fl_str_mv info:eu-repo/semantics/openAccess
rights_invalid_str_mv open access
http://purl.org/coar/access_right/c_abf2
Reconocimiento - No comercial - Compartir igual (by-nc-sa)
http://creativecommons.org/licenses/by-nc-sa/4.0/
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Editorial Universitat Politècnica de València
publisher.none.fl_str_mv Editorial Universitat Politècnica de València
dc.source.none.fl_str_mv reponame:RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia
instname:Universitat Politècnica de València (UPV)
instname_str Universitat Politècnica de València (UPV)
reponame_str RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia
collection RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia
repository.name.fl_str_mv
repository.mail.fl_str_mv
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spelling Pictorial reconstruction of Palomino’s ceiling by digital techniquesRegidor Ros, Jose Luis|||0000-0002-1361-5050Portilla-Romero, ClaraValcarcel Andrés, Juan Cayetano|||0000-0002-2072-1476Roig Picazo, M. PilarTransferencia de imágenesColoreado digitalRestauración digitalPalomino de Castro y Velasco, Antonio (1655–1726)Digital couloringImage transferMappingDigital restoration[EN] The case of the frescos by Palomino in the church of Santos Juanes in Valencia is a challenge that requires new alternatives to traditional mural restoration. Part of the paintings burnt in 1936 were detached and partly relocated in the vault afterwards. One third of the paintings, which were not detached, have been restored. A new phase of intervention has now begun, using a system of aesthetic reconstruction generated by digital images. This technique, already used successfully in a previous intervention, aims to recover the pictorial and functional atmosphere of this religious space.In order to fulfil the goal of trying to give a global solution to Palomino's work, it is necessary to find a chromatic solution to the apse of the church due to the absence of its original frescos. We propose the use of video mapping based on a historical black and white photograph taken by J. Alcon before the fire. Taking chromatic and iconographic references from other pictorial works that are in the same space-time context as the original painting and were executed by the same author, an aesthetic approach to the work would be made through the technique of video mapping. Mapping allows the viewer to see the pictorial and functional values of the artwork, without using an invasive form, and favours a vision of its historical-artistic context. Without physically altering the heritage, the final audiovisual presentation can reach multiple levels of information, helping the observer to understand, for example, the technique and pictorial materiality of the frescos and, at the same time, to discover the different iconographic representations.On the other hand, the successful system realised in the first phase was based on digital treatment of another historical photograph in black and white. This procedure was carried out in several ways such as straightening, rectifying and scaling of historical photograph. After the previous process, the following step was a digital colouring based on the superposition of the captures of the existing fragments to the picture taken by J. Alcon, always taking the colours of the original painting as a reference. The creation of the virtual final image also requires colour management calculations to be transformed into a printed or projected reality. The last step is to print and transfer the image to the wall. This was done with Papelgel®, a temporary support for the transfer of inkjet and pigmented printing inks. In this case the main novelty is the use of an adhesive pattern which improves the transfer of digital print fidelity and maintains the breathability of the wall. In the current phase of intervention, this system is intended to be applied to the rest of the vault once the detached fragments have been relocated to their original position.This project is an important attempt in the search for perfect harmony between the different computing elements. Information technologies offer a new and wide range of possibilities to preserve cultural heritage and participate directly in the intervention processes required for their conservation and restoration.Editorial Universitat Politècnica de ValènciaDepartamento de Conservación y Restauración de Bienes CulturalesFacultad de Bellas ArtesInstituto Universitario de Restauración del PatrimonioRepositorio Institucional de la Universitat Politècnica de València Riunet20232023-01-11book parthttp://purl.org/coar/resource_type/c_3248VoRhttp://purl.org/coar/version/c_970fb48d4fbd8a85info:eu-repo/semantics/bookPartapplication/pdfhttps://riunet.upv.es/handle/10251/191535reponame:RiuNet. Repositorio Institucional de la Universitat Politécnica de Valénciainstname:Universitat Politècnica de València (UPV)Inglésengopen accesshttp://purl.org/coar/access_right/c_abf2Reconocimiento - No comercial - Compartir igual (by-nc-sa) http://creativecommons.org/licenses/by-nc-sa/4.0/info:eu-repo/semantics/openAccessoai:riunet.upv.es:10251/1915352026-06-13T07:49:27Z
score 15,300719

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