Acrylamide chemical gels have been synthesized to obtain systems with mechanic and hydrophilic properties suitable for the cleaning of works of art. The gel characteristics were tailored by changing the polymer percentage present in the final hydrogel formulation from 2 to 10% w/w. Two different hydrogels have been selected in this interval for an in depth characterization (i.e., S 4% w/w and H 6% w/w). Water retention properties of the gels along with the free water index have been determined by the combination of standard dehydration tests and differential scanning calorimetry (DSC) measurements. The gels' structure has been determined by scanning electron microscopy (SEM) and small angle X-ray scattering (SAXS). The water retention capacity of hydrogel, H, was also determined. Cleaning tests on easel painting replicas, performed with both hydrogels loaded with an aqueous detergent system, showed good results in the removal of a widely used synthetic adhesive and hence offered these gels as a real alternative to the widely applied physical gel methodology with the advantage of being a residue-free technique. A preliminary SAXS investigation confirms the persistence of the detergent system nanostructure inside the hydrogel.

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Gels are particularly useful for the cleaning of works of art, as they allow the controlled delivery of cleaning fluids on solvent-sensitive substrates such as easel paintings. Owing to the presence of covalent cross-links between the polymer chains, chemical gels exhibit mechanical properties that allow their easy handling and their residue-free removal from artistic surfaces after the cleaning intervention. Organogels based on the crosslinking of methyl methacrylate (MMA) can be prepared as loaded with solvents for the controlled removal of unwanted layers from the surface of canvas paintings. Here, we propose MMA-based organogels obtained by solubilizing MMA in pure organic solvents (e.g., ethyl acetate, butyl acetate and ketones) and using a dimethacrylate cross-linker. The uptake/release behavior of the gels has been investigated, and their mesoporosity has been characterized through small-angle X-ray scattering. Finally, the gels have been used for the removal of historical varnishes from canvas painting samples, checking the absence of gel residues with attenuated total reflectance Fourier transform infrared spectroscopy (ATR-FTIR).

The aim of this study was to develop new, sustainable treatments for the consolidation and conservation of canvas of modern and contemporary art. Because of the diversity of painting types, two product groups which have polar and nonpolar character were developed. The treatment should be applicable to the back side of the canvas. The deacidification agents are sub-µm-particles of calcium carbonate or magnesium oxide which are dispersed in water or heptane. The polar components are hydroxyethyl methyl cellulose and nanocrystalline cellulose which are biopolymers derived from renewable raw materials. The nonpolar products were obtained by the silylation of the raw materials and allow the solubility in nonpolar solvents as heptane. Each product was applied to highly degraded, acidic model cotton canvas as well as canvas from real paintings. The application of these products showed a good increase of breaking force at a low increase of the mass of the canvas and also had only slight optical changes of the canvas. The deacidification of canvasses is a good preventive measure and can protect canvasses from future damage by acidity. The deacidification agents showed an increase of pH from acidic to alkaline after the treatment and a deposition of an alkaline reserve.

The aim of this work was to evaluate the use of novel nanocellulose-based consolidants for modern easel paintings as a possible alternative to lining and to the use of common adhesives. Two dispersions of consolidants were tested: nanofibrillated (CNF) and nanocrystalline cellulose (CNC). A model cotton canvas was used to evaluate the effect of these consolidants following treatment by the nanocellulose-based formulations. The surface appearance of the canvases was assessed before and after treatment using colorimetry and scanning electron microscopy (SEM). Additionally, the characterisation of the mechanical properties of the samples was performed using tensile testing and dynamic mechanical analysis (DMA-RH) at controlled relative humidity (RH) (3 RH cycles, 20-60-20% RH at 25 °C) before and after treatment. Finally, colour changes undergone by the samples upon accelerated ageing were measured by colorimetry. Taking into account the individual outcomes of each of these tests, it was possible to evaluate the merits and limitations of the use of nanocellulose treatments for the consolidation of modern painting canvases.