The National Gallery of Canada Catalogue of European Drawings

1966 ◽  
Vol 48 (1) ◽  
pp. 115
Author(s):  
Dwight C. Miller ◽  
A. E. Popham ◽  
K. M. Fenwick
Keyword(s):  
National Gallery ◽  
National Gallery Of Canada

Eyeing the past: synchrotron µ-XANES and XRF imaging of tarnish distribution on 19th century daguerreotypes

2019 ◽  
Vol 26 (5) ◽  
pp. 1679-1686 ◽  
Author(s):  
M. S. Kozachuk ◽  
T. K. Sham ◽  
R. R. Martin ◽  
A. J. Nelson ◽  
I. Coulthard
Keyword(s):  
Electron Microscopy ◽  
Scanning Electron Microscopy ◽  
Synchrotron Radiation ◽  
National Gallery ◽  
Edge Structure ◽  
X Ray ◽  
The Past ◽  
National Gallery Of Canada ◽  
X Ray Absorption ◽  
Scanning Electron

Louis-Jacques-Mandé Daguerre introduced the first successful photographic process, the daguerreotype, in 1839. Tarnished regions on daguerreotypes supplied by the National Gallery of Canada were examined using scanning electron microscopy energy-dispersive X-ray spectroscopy and synchrotron-radiation analysis. Synchrotron X-ray fluorescence imaging visualized the distribution of sulfur and chlorine, two primary tarnish contributors, and showed that they were associated with the distribution of image particles on the surface. X-ray absorption near-edge structure spectroscopy determined the tarnish to be primarily composed of AgCl and Ag2S. Au2S, Au2SO4, HAuCl4 and HgSO4 were also observed to be minor contributors. Environmental contamination may be a source of these degradation compounds. Implications of these findings will be discussed.

scholarly journals Digitizing Snow:

2021 ◽  
Author(s):  
Christophe Jivraj
Keyword(s):  
National Gallery ◽  
Cultural Institutions ◽  
Art Gallery ◽  
Use Of Time ◽  
Current State ◽  
Museum Professionals ◽  
Reproduction Process ◽  
Digital Reproduction ◽  
National Gallery Of Canada ◽  
Art Gallery Of Ontario

This thesis looks at the current state of digital reproductions for contemporary photographic artworks—how they are made, the purposes they serve, and how they are disseminated by cultural institutions. Using four selected photographic installation artworks by Canadian artist Michael Snow, this research examines how museums pursue reproductions of artworks that are installative by design and possess elements that are not easily reproducible like sound or the use of time. The reproduction process and terminology used at the Art Gallery of Ontario and the National Gallery of Canada (two institutions with significant collections of Snow’s artworks) are both examined, as well as how digital reproduction is currently discussed and theorized by museum professionals and digital specialists. Reproductions are used for outreach, research, advertising, and conservation, but between texts and institutions alike there lacks consistent terminologies and purposes for reproductions due to the dearth of research into this type of imagery.

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