Promotional cinema facade paintings were created in the early 1950s to attract audiences to cinemas. With the advent of digital printing technology in the 1980s, these paintings lost their prominence and gradually fell into oblivion. Over time, they have become historical artifacts that require preservation and restoration. This study aims to identify the materials used in cinema facade paintings. The research employs a descriptive methodology, utilizing classical chemical laboratory techniques, digital and polarizing microscopes, and infrared spectroscopy. The results indicate that the paintings consist of three layers: support, base, and pigment. The support layer is made of cotton and fabric fibers, and silk is used in restoration efforts. The base composition includes gypsum, calcite, and white lead, while the pigments contain compounds such as white lead, calcite, Prussian blue, and black iron oxide.
Coffee house painting is one of the arts that emerged in coffee houses about a century ago due to the need of time and the needs of today's society. This style of painting by dealing with simple and popular subjects was able to take the path of progress and progress very soon and become a style of Iranian painting history. In this research, an attempt has been made to identify the principles of their display and preservation by reviewing coffee house paintings, how these paintings are displayed in museums. The factors of formation, the characteristics of coffee house painting and the principles of display and how to deal with large-scale paintings in museums are among the things that have been discussed in this article. The method of collecting information for the purposes of this review article is the library and field method, which examines and compares the information obtained about the way paintings are stored and displayed, and how large-scale paintings are displayed and stored in museums. Considering the age of these paintings, it is necessary to protect, restore and keep this style of painting alive. The protection and restoration of coffee works can be examined from two physical and spiritual (conceptual) dimensions due to the subjects used in them. These dimensions are complementary to each other, without considering the spiritual dimension, the painting is just a design and colors on the support and has no other value for the audience. Therefore, the correct presentation of the artistic aspect and the concept of coffeehouse painting is very important in order to keep alive this style of Iranian painting.
