Vincent van Gogh's Sunflowers are seen by many as icons of Western European art. Two of these masterpieces - the first version painted in August 1888 (The National Gallery, London) and the painting made after it in January 1889 (Van Gogh Museum, Amsterdam) - have been the subject of a detailed comparison by an interdisciplinary team of experts. The pictures were examined in unprecedented depth using a broad array of techniques, including state-of-the-art, non-invasive imaging analytical methods, to look closely at and under the paint surface. Not only the making, but also the subsequent history of the works was reconstructed, including later campaigns of restoration. The study's conclusions are set out in this book, along with the fascinating genesis of the paintings and the sunflower's special significance to Van Gogh. More than 30 authors, all specialists in the field of conservation, conservation science and art history, have contributed to the research and publication presenting the outcomes of this unique project.

Science and art are increasingly interconnected in the activities of the study and conservation of works of art. Science plays a key role in cultural heritage, from developing new analytical techniques for studying the art, to investigating new ways of preserving the materials for the future. For example, high resolution multispectral examination of paintings allows art historians to view underdrawings barely visible before, while the use of non-invasive and micro-sampling analytical techniques allow scientists to identify pigments and binders that help art conservators in their work. It also allows curators to understand more about how the artwork was originally painted. Through a series of case studies written by scientists together with art historians, archaeologists and conservators, Science and Art: The Painted Surface demonstrates how the cooperation between science and humanities can lead to an increased understanding of the history of art and to better techniques in conservation. The examples used in the book cover paintings from ancient history, Renaissance, modern, and contemporary art, belonging to the artistic expressions of world regions from the Far East to America and Europe. Topics covered include the study of polychrome surfaces from pre-Columbian and medieval manuscripts, the revelation of hidden images below the surface of Van Gogh paintings and conservation of acrylic paints in contemporary art. Presented in an easily readable form for a large audience, the book guides readers into new areas uncovered by the link between science and art. The book features contributions from leading institutions across the globe including the Metropolitan Museum of Art, New York; Art Institute of Chicago; Getty Conservation Institute; Opificio delle Pietre Dure, Firenze; National Gallery of London; Tate Britain; Warsaw Academy of Fine Art and the National Gallery of Denmark as well as a chapter covering the Thangka paintings by Nobel Prize winner Richard Ernst.

Science and art are increasingly interconnected in the activities of the study and conservation of works of art. Science plays a key role in cultural heritage, from developing new analytical techniques for studying the art, to investigating new ways of preserving the materials for the future. Following on from the 2014 title Science and Art: The Painted Surface, this book consists of a series of chapters written together by scientists, art historians, conservators, curators and artists dedicated to conservation, execution techniques, languages and conceptual topics. Science and Art: The Contemporary Painted Surface largely covers execution techniques, material's conservation and languages of artists, representative of twelve different countries, all protagonists of the development of innovative significant techniques and methodologies. The book opens with a focus on widely historicized artists, such as Jackson Pollock, Lucio Fontana, Enrico Baj, Piero Manzoni and Joseph Albers. Its core is dedicated to the work of major worldwide renowned living artists, in a perspective that, while considering the Sixties as the historical starting point of contemporaneity, does not neglect to offer a view on the work done in the immediately preceding years. Several interviews with artists are included. Final chapters are dedicated to contemporary design, net art, and painted surfaces in contemporary architecture. Presented in an easily readable form for a large audience, the book guides readers into new areas uncovered by the link between science and art, and will be of interest to artists, art historians and curators, as well as those who appreciate art. Reviews of Science and Art: The Painted Surface 'Science and Art provides an excellent read for art historians, who will instantly recognise the famous pieces that have been studied, while giving them insight into how a painting was constructed, what it is made from, or how the colours would have looked when they were freshly painted.' Chemistry World, 6 November 2014 'Science and Art is recommended for students, teachers, and the general public who are interested in chemistry or other sciences and art, as well as applications of the former to the latter.' J. Chem. Educ., 2016, 93(5), 810-810