Related Papers
Journal of the American Institute for Conservation
The Impact of Research on the Lining and Cleaning of Easel Paintings
1994 •
Joyce Stoner
SGEM
CONSERVATION OF CONTEMPORARY PAINTING: A COMPARTATIVE STUDY OF THE EFFECT OF DRY CLEANING TECHNIQUES
2017 •
Rosario LLamas-Pacheco
The goal of this study is to determine the effectiveness of different erasers in performing dry cleaning on unvarnished monochrome samples (painted with acrylics, oils, alkyd oils and gouache). These samples are representative of the problem with modern monochrome works lacking any protective film that might prevent dirt from entering the paint surface-they require careful cleaning procedures taking into consideration the painting materials used, which in many cases are sensitive to certain solvents. For this reason, the cleaning process must be carefully analysed and take into account the above, in order to avoid causing any damage to the chromatic rhythm of the unflawed surfaces created by the artist. Through the use of photographs, a microscope and RTI (Reflectance Transformation Imaging)-a technique underused in the recording of painted artwork-are used to ascertain changes brought about from dry cleaning treatments, such as changes in the gloss, texture, abrasion, erosion, polish, incisions caused by the materials and the presence of residues that might trigger chemical problems on the paint surface. Keeping track of these factors during a cleaning process is relevant since monochrome paints, in addition to its flat colour scheme, also contain an intrinsic message that must be transmitted to the public without interruption.
The conservation of panel paintings and related objects
Roger Groves, Paul van Duin, kate seymour
Until the early 17th century almost all portable paintings were created on wood supports, including masterpieces by famous painters, ranging from Giotto to Dürer to Rembrandt. The structural conservation of these paintings requires specific knowledge and skills as the supports are susceptible to damage caused by unstable environmental conditions. Unfortunately, past structural interventions often caused significant damage due to insufficient knowledge of the behaviour of the wood panels, glue and paint layers. Over the last fifty years, the field has developed treatment strategies based on interdisciplinary collaboration and on the knowledge of specialist conservators. Most current conservation protocols rely on empirical knowledge of conservators and are not necessarily based on a scientific understanding of the nature and behaviour of wood and paint layers. In order to move the field forward, it is imperative to strengthen scientific research into the production methods, ageing and future behaviour of panel paintings, being an intricate interplay between different materials. A deeper understanding of the processes that adversely affect panel paintings over time will contribute to the improved care and conservation of these artworks. The Netherlands Organisation for Scientific Research (NWO) and the Rijksmuseum Amsterdam brought together a group of experts from different disciplines to recommend specific areas in the field that would benefit from systematic research. The experts concluded that targeted interdisciplinary research projects are key to understanding the behaviour of panel paintings and help conservators make better informed decisions. Research into chemical and physical properties of wood, glue and paint layers should be combined with an evaluation of past and current conservation treatments. Research should also consider the history of the object, studio practice, conservation history and thoughts on long-term impact of treatments.Over the next seven to ten years key research topics should include: Hydromechanical properties of ageing wood in panels; Interlaminar stresses and fractures mechanics, also affecting the paint layers; Loss of adhesion among the paint layers; Adhesives with appropriate chemical and physical properties; and Non-destructive testing and development of theoretical models. Successful projects encourage close collaboration between conservators and (conservation) scientists, as each discipline brings a unique perspective to the discussion. This collaboration would include the review of existing literature, the development of a database with population studies, and the establishment of a calibration system between laboratories. Given the growing need for skilled conservators with a good scientific background, it is imperative that outcomes are widely shared with the conservation community. Wide dissemination can only be achieved with the support of national and international funding organisations, e.g. in the framework of the European Joint Programming Initiative on Cultural Heritage. Strengthened collaboration among international stakeholders, concerned with the conservation of panel paintings, is vital to the advancement of the field. Existing programmes in a number of countries offer a useful basis, such as the Getty Panel Paintings Initiative and the NWO-programme Science4Arts. Museums, conservation institutes, cultural heritage institutions and universities must play an important role in promoting best practices, knowledge dissemination, and education. These organizations must take the lead to establish an international network of knowledge centres with open access policies that will stimulate knowledge transfer.
Journal of Paper Conservation
The Treatment of Oil Paintings on Paper Supports Considerations on the Treatment Applications Used from the Past until the Present
2015 •
Penelope Banou, Brian Singer
Investigating the conservation problems of oil paintings on paper supports
2017 •
Penny Banou
The initial results of a research project on the investigation of problems presented by a collection of oil paintings on paper supports are presented. The project focuses on the effect of the oil medium on the deterioration of cellulose, on the materials and techniques used by the artists and on comprehension of the resulting problems. Non destructive methodology was used to record the behaviour of the materials when examined in several regions of the electromagnetic spectrum which gives an indication of areas of damage. . Various analytical techniques were applied to investigate the painting materials and supports in original works of art. The increase in rate of the oxidation of cellulose in paper, when the paper is coated in oil, is investigated by analyzing volatile organic compounds emitted during ageing tests. The assessment of the results obtained will act as a pilot for a more extensive program of research, the ultimate aim of which is the formulation of a recommended method...
Investigating the conservation problems of the oil paintings on paper supports
Agathi Anthoula Kaminari, Penelope Banou, Anna Moutsatsou
The initial results of a research project on the investigation of problems presented by a collection of oil paintings on paper supports are presented. The project focuses on the effect of the oil medium on the deterioration of cellulose, on the materials and techniques used by the artists and on comprehension of the resulting problems. Non destructive methodology was used to record the behaviour of the materials when examined in several regions of the electromagnetic spectrum which gives an indication of areas of damage. Various analytical techniques were applied to investigate the painting materials and supports in original works of art. The increase in rate of the oxidation of cellulose in paper, when the paper is coated in oil, is investigated byanalyzing volatile organic compounds emitted during ageing tests. The assessment of the results obtained will act as a pilot for a more extensive program of research, the ultimate aim of which is the formulation of a recommended methodology as a tool for the evaluation of the condition of these types of works, as well as the determination of conservation and care parameters.
Conservation of Modern Oil Paintings
2019 •
Katrien Keune
The structural conservation of canvas paintings: changes in attitude and practice since the early 1970s
Daniela Urzua Reyes
Clara Moura Soares et. al. (2012),"Historical and material approach to the paintings at the Portugal National Library: contributions to the history of conservation and restoration of easel paintings in the 19th century", EUROMED, Essex, Multi-Science Publishing, pp. 283-288.
Clara Moura Soares, Rute Massano Rodrigues
There are in the National Library of Portugal (BNP) about fifty paintings from former convents, mainly portraits executed between the sixteenth and nineteenth centuries, which are hung in rooms and along corridors, far from the eyes of the public and simultaneously protected by recent conservation and restoration interventions. These paintings, of little artistic interest, are, however, individual cases for the study of conservation and restoration interventions made in the nineteenth century. The data obtained will contribute to the history of paintings restoration, in terms of its practical aspects (about materials and techniques used), that is still to be written in Portugal. Our research, which began in January 2011 and is predicted to end in December 2013, has been oriented by three complementary lines of action, with an interdisciplinary methodological base: the exploitation of the BNP's precious and unpublished documental archive; the assessment to the conservation status of the paintings and identification of restoration works; and the material study of the works, from physical and chemical methods of examination and analysis, in order to deepen our technical knowledge about the restoration of easel painting in the nineteenth century. Through historical documents we could identify periods of restoration, restorers and materials used. The observation of paintings allowed selecting a set of twenty-seven pieces that showed old restorations, made in the nineteenth or early twentieth century. In addition it's very important to use examination methods and laboratory analysis to characterise the restoration works and the materials used.
Investigating of the conservation problems of oil paintings on paper supports
2010 •
Anna Moutsatsou
The initial results of a research project on the investigation of problems presented by a collection of oil paintings on paper supports are presented. The project focuses on the effect of the oil medium on the deterioration of cellulose, on the materials and techniques used by the artists and on comprehension of the resulting problems. Non destructive methodology was used to record the behaviour of the materials when examined in several regions of the electromagnetic spectrum which gives an indication of areas of damage. . Various analytical techniques were applied to investigate the painting materials and supports in original works of art. The increase in rate of the oxidation of cellulose in paper, when the paper is coated in oil, is investigated by analyzing volatile organic compounds emitted during ageing tests. The assessment of the results obtained will act as a pilot for a more extensive program of research, the ultimate aim of which is the formulation of a recommended method...
