The PERCEIVE project is built from a set of concrete starting scenarios dedicated to: [S1] disappearing colors (polychromy on statues), [S2] color changes in painted objects (paintings and works on paper), [S3] fading of textiles (dresses and embroidery), [S4] collections of photographs, [S5] immersive color use in born digital AR artworks (with the importance of transparency issues in AR) and their long term preservation for future exhibitions.

Disappearing or Lost Polychromy

This first scenario is dedicated to the problem of the loss of polychromy, especially in classical sculptures. Archaeological museums, in fact, often own collections of statues and architectures that were originally coloured. Unfortunately, only tiny traces of these colours are still visible and what is left needs to be preserved carefully.

Change of Colors in Paintings and Works on Paper

The second scenario faces the problem of colour change in paintings and works on paper. Examples of paintings in the Munch Museum Collection, such as The Scream (ca. 1910) (Woll.M.896) show how some colours are subjected to color changes. The reconstruction of how colors would have been originally perceived is crucial, since their appearance strongly influences our perception of the work of art.

Fading Colors in Textiles (Dresses and Tapestry)

The third scenario addresses the problem of colour fading in textiles (dresses and tapestry). These materials and their colours are very fragile, suffering a rapid degradation, sometimes within a decade. Therefore, it is highly necessary to conserve and communicate these collections, which can also inspire the creative industries when appropriately reconstructed.

Fading Colors in Photographic Collections

Historical photo collections experience colour degradation, and this is the focus of the fourth scenario. Two types of photos are particularly at risk: autochromes and kodacolor collections, whose colours were produced using specific “lost” techniques.

Perceiving and Preserving Colors in Born Digital Artworks

The fifth scenario deals with artworks originally created in digital form. Preserving them and making them accessible is an important task. Addressing this issue raises important questions around born digital art in general, and it also highlights the need for a more sustainable business model for companies, curators, and researchers.