As vitrines das pinturas do Museu de Arte de São Paulo Assis Chateaubriand, MASP – Brasil
O projeto museográfico de Lina Bo Bardi e a evolução na conservação
Keywords:
MASP, vitrines, glass, painting, conservation, VOC
Abstract
This paper aims to highlight the museography of Lina Bo Bardi for exhibiting paintings at the Museum of Art of São Paulo, MASP (Brasil), one of the most relevant collections of European art in a museum in the southern hemisphere.
Analysed here is the evolution of glazed paintings, different glasses as the different types of backing board used in the permanent exhibition over 50 years for loans and conservation purposes. Emphases are given to the possible relationship between the condition of the art work and the effects of pollutants and relative humidity inside the microclimate vitrine.
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References
BARBOSA, K. (2015). “Concreto e Cristal: Conservação”. Em Concreto e Cristal: O acervo do MASP nos cavaletes de Lina Bo Bardi, A. Pedrosa e L. Proença (eds.), Cobogó. São Paulo: MASP, 35-38.
BARDI, P. M. (1956). The arts in Brazil, a new museum at São Paulo. (E. del Milione, Ed.). Milão.
CORULLON, M. (2015). “Concreto e Cristal: Arquitetura”. Em Concreto e Cristal: O acervo do MASP nos cavaletes de Lina Bo Bardi, A. Pedrosa e L. Proença (eds.), Cobogó. São Paulo: MASP, 28-34.
DAHLIN, E., ed. (2010). PROPAINT - Improved Protection of Paintings during Exhibition , Storage and Transit - Final Activity Report. Kjeller. Norvegian Institute for Air Research, NILU OR 42/2010. http://propaint.nilu.no/Portals/23/PROPAINT-Final%20Report.pdf. [Consulta: 27/07/2017].
FERREIRA, C. S. F. M. (2015). Inércia higroscópica em museus instalados em edifícios antigos - Utilização de técnicas passivas no controlo da humidade relativa interior. Porto: Faculdade de Engenharia da Universidade do Porto.
GRØNTOFT, T., Thickett, D., Lankester, P., Hackney, S., Townsend, J. H., Ramsholt, K., & Garrido, M. (2016). Assessment of indoor air quality and the risk of damage to cultural heritage objects using MEMORI® dosimetry. Studies in Conservation, 61. https://doi.org/10.1080/00393630.2015.1131477. [Consulta: 27/11/2018].
MIYOSHI, A. G. (2005). Museografias do MASP. I Encontro de História da Arte - IFCH/UNICAMP. Campinas.
MIYOSHI, A. G. (2007). O edifício do Museu de Arte de São Paulo. Museologia e museografias. Universidade Estadual de Campinas.
MIYOSHI, A. G. (2011). Arquitetura em suspensão, o edifício do Museu de Arte de São Paulo. (Florada das Artes, Ed.). Campinas.
MIYOSHI, A. G. (2015). “Sobre Cristais e Paredes: Recepção Crítica do Cavaletes de Vidro e Soluções da Pinacoteca do MASP”. Em Concreto e Cristal: O acervo do MASP nos cavaletes de Lina Bo Bardi, A. Pedrosa e L. Proença (eds.), Cobogó. São Paulo: MASP, 98-109.
NOBLE, P., and A. VAN LOON. (2009). “Evaporation of Fatty Acids and Formation of Whitish Deposits on the Inside of the Glass/ Microclimate boxes: a case study in the Mauritshuis”. Em EU-PROPAINT – Improved Protection of Paintings during Exhibition, Storage and Transit. Final Activity Report 2010, ed. E. Dahlin, 149–164. Kjeller: Norwegian Institute for Air Research. 2010. Paper. http://propaint.nilu.no/Portals/23/PROPAINT-Final%20Report.pdf. [Consulta: 27/07/2017].
PADFIELD, T., & ERHARDT, D. (1987). “The spontaneous transfer to glass of an image of Joan of Arc”. Em ICOM Committee for Conservation 8th Triennial Meeting: Sydney, Australia, 6-11 September 1987: Preprints, (September 1987), 909–913.
PEDROSA, A. “Concreto e Cristal: Aprendendo com Lina”. Em Concreto e Cristal: O acervo do MASP nos cavaletes de Lina Bo Bardi, A. Pedrosa e L. Proença (eds.), Cobogó. São Paulo: MASP, 14-27.
RICHARD, M. (2007). “The Benefits and Disadvantages of adding silica gel to microclimate packages for panel paintings”. Em Museum Microclimates, T. Padfield & K. Borchersen (Eds.). Copenhagen Conference. Copenhagen: The National Museum of Denmark.
SCHIEWECK, A. (2008). Airborne Pollutants in Museum Showcase: Material Emissions, Influences, Impacts on Artworks, 1–196. Dresden: Academia de Belas Artes de Dresden.
SOZZANI, L. S. G. (1997). “An economical design for a microclimate vitrine for paintings using the picture frame as the primary housing”. Journal of the American Institute for Conservation, 36(2), 95–107.
TÉTREAULT, J. (1999). Standards for levels of pollutants in museums: Part II. Indoor Air Pollution Working Group.
THICKETT, D., & LEE, L. R. (2004). Selection of materials for the storage or display of museum objects. The British Museum Occasional Paper, (111). The British Museum, London.
TOLEDO, F., SEHN, M., SOUSA, M., BRAZOLIN, S., & HACKNEY, S. (2007). “The use of glass boxes to protect modern paintings in warm humid museums”. Em Museum Microclimates, T. Padfield & K. Borchersen (Eds.). Copenhagen Conference. Copenhagen: The National Museum of Denmark.
WADUM, J. (1995). Microclimate boxes for panel paintings. Em K. Dardes & A. Rothe (Eds.), The Structural Conservation of Panel Paintings (pp. 497–524). Getty Conservation Institute, Los Angeles; 1998.
BARDI, P. M. (1956). The arts in Brazil, a new museum at São Paulo. (E. del Milione, Ed.). Milão.
CORULLON, M. (2015). “Concreto e Cristal: Arquitetura”. Em Concreto e Cristal: O acervo do MASP nos cavaletes de Lina Bo Bardi, A. Pedrosa e L. Proença (eds.), Cobogó. São Paulo: MASP, 28-34.
DAHLIN, E., ed. (2010). PROPAINT - Improved Protection of Paintings during Exhibition , Storage and Transit - Final Activity Report. Kjeller. Norvegian Institute for Air Research, NILU OR 42/2010. http://propaint.nilu.no/Portals/23/PROPAINT-Final%20Report.pdf. [Consulta: 27/07/2017].
FERREIRA, C. S. F. M. (2015). Inércia higroscópica em museus instalados em edifícios antigos - Utilização de técnicas passivas no controlo da humidade relativa interior. Porto: Faculdade de Engenharia da Universidade do Porto.
GRØNTOFT, T., Thickett, D., Lankester, P., Hackney, S., Townsend, J. H., Ramsholt, K., & Garrido, M. (2016). Assessment of indoor air quality and the risk of damage to cultural heritage objects using MEMORI® dosimetry. Studies in Conservation, 61. https://doi.org/10.1080/00393630.2015.1131477. [Consulta: 27/11/2018].
MIYOSHI, A. G. (2005). Museografias do MASP. I Encontro de História da Arte - IFCH/UNICAMP. Campinas.
MIYOSHI, A. G. (2007). O edifício do Museu de Arte de São Paulo. Museologia e museografias. Universidade Estadual de Campinas.
MIYOSHI, A. G. (2011). Arquitetura em suspensão, o edifício do Museu de Arte de São Paulo. (Florada das Artes, Ed.). Campinas.
MIYOSHI, A. G. (2015). “Sobre Cristais e Paredes: Recepção Crítica do Cavaletes de Vidro e Soluções da Pinacoteca do MASP”. Em Concreto e Cristal: O acervo do MASP nos cavaletes de Lina Bo Bardi, A. Pedrosa e L. Proença (eds.), Cobogó. São Paulo: MASP, 98-109.
NOBLE, P., and A. VAN LOON. (2009). “Evaporation of Fatty Acids and Formation of Whitish Deposits on the Inside of the Glass/ Microclimate boxes: a case study in the Mauritshuis”. Em EU-PROPAINT – Improved Protection of Paintings during Exhibition, Storage and Transit. Final Activity Report 2010, ed. E. Dahlin, 149–164. Kjeller: Norwegian Institute for Air Research. 2010. Paper. http://propaint.nilu.no/Portals/23/PROPAINT-Final%20Report.pdf. [Consulta: 27/07/2017].
PADFIELD, T., & ERHARDT, D. (1987). “The spontaneous transfer to glass of an image of Joan of Arc”. Em ICOM Committee for Conservation 8th Triennial Meeting: Sydney, Australia, 6-11 September 1987: Preprints, (September 1987), 909–913.
PEDROSA, A. “Concreto e Cristal: Aprendendo com Lina”. Em Concreto e Cristal: O acervo do MASP nos cavaletes de Lina Bo Bardi, A. Pedrosa e L. Proença (eds.), Cobogó. São Paulo: MASP, 14-27.
RICHARD, M. (2007). “The Benefits and Disadvantages of adding silica gel to microclimate packages for panel paintings”. Em Museum Microclimates, T. Padfield & K. Borchersen (Eds.). Copenhagen Conference. Copenhagen: The National Museum of Denmark.
SCHIEWECK, A. (2008). Airborne Pollutants in Museum Showcase: Material Emissions, Influences, Impacts on Artworks, 1–196. Dresden: Academia de Belas Artes de Dresden.
SOZZANI, L. S. G. (1997). “An economical design for a microclimate vitrine for paintings using the picture frame as the primary housing”. Journal of the American Institute for Conservation, 36(2), 95–107.
TÉTREAULT, J. (1999). Standards for levels of pollutants in museums: Part II. Indoor Air Pollution Working Group.
THICKETT, D., & LEE, L. R. (2004). Selection of materials for the storage or display of museum objects. The British Museum Occasional Paper, (111). The British Museum, London.
TOLEDO, F., SEHN, M., SOUSA, M., BRAZOLIN, S., & HACKNEY, S. (2007). “The use of glass boxes to protect modern paintings in warm humid museums”. Em Museum Microclimates, T. Padfield & K. Borchersen (Eds.). Copenhagen Conference. Copenhagen: The National Museum of Denmark.
WADUM, J. (1995). Microclimate boxes for panel paintings. Em K. Dardes & A. Rothe (Eds.), The Structural Conservation of Panel Paintings (pp. 497–524). Getty Conservation Institute, Los Angeles; 1998.
Published
2019-06-27
How to Cite
Barbosa, K. C., Moreira, P., & Vieira, E. (2019). As vitrines das pinturas do Museu de Arte de São Paulo Assis Chateaubriand, MASP – Brasil: O projeto museográfico de Lina Bo Bardi e a evolução na conservação. Ge-Conservacion, 15, 18-26. https://doi.org/10.37558/gec.v15i0.577
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