During conservation treatment, consolidants and deacidifying agents can be added to the canvas of a painting to mechanically stabilise it and counteract the acidity that promotes degradation. In this study, new stabilising consolidants and deacidifying agents based on different nanoparticles (silica, calcium carbonate, magnesium oxide, cellulose nanofibrils and cellulose nanocrystals) were tested in comparison to traditionally used products. These products were applied onto different types of canvasses, and colour, gloss and pH changes were analysed. Conservators' subjective perceptions on the ease of application and the final visual results of the products were also assessed. Specifically, conservators were asked to examine the drying time and the ease of use of the products, as well as any changes in stiffness, darkening or whitening caused by the products on the canvasses. The best products were the ones based on calcium carbonate, magnesium oxide and cellulose nanocrystals. Cellulose nanofibrils are also promising consolidants because they are highly compatible with the chemical nature of painting canvasses.

This study evaluates the effectiveness of microblasting with powdered cellulose for the dry-cleaning of canvases. Various surface cleaning tests were conducted by microblasting on the reverse of canvas paintings and the results were compared to those obtained with traditional dry-cleaning techniques using erasers and sponges. To assess cleaning effectiveness and potential changes on the support, the treated surfaces were examined both before and after cleaning using optical microscopy (OM), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM–EDX), confocal laser microscopy with surface roughness measurements, and spectrophotometry. The results from this comparative evaluation suggest that microblasting with powdered cellulose is a feasible technique for removing soiling on canvas and that it does not affect canvas structure or its topography. Furthermore, powdered cellulose leaves fewer particles of residues on the surface after cleaning, and these residues are chemically stable and compatible with the canvas support. Thus, the technique also avoids the potential negative long-term effects of eraser and sponge residues of particles that may remain on the canvas when these traditional systems are used.

This study provides a detailed understanding of the heat fluxes and temperatures that take place in the channel between the inner face of an exterior wall and the back of a painted wood panel hung on it. This is performed by means of a numerical simulation with a 2 dimensional CFD software. Distributions of temperatures, heat fluxes, and other parameters are quantified for 56 cases where the classical equations-Raithby-Hollands and similar-cannot be applied as these require vertical isothermal plates or isofluxes. Studied scenarios include different panel heights, channel widths, and room heights. Combining these data with outside temperature (− 3 °C) and heating air supply temperature (20 °C), to provide a nearly constant 19.6 °C in the room except in the channel between panel and wall, and with two values of specific humidity in the room, we provide for every studied case, advised distances, for these conditions, between the panel and the wall.

Este estudio confirma que el frontal de santa Eugenia (MAD 121, París) y los laterales de Ribes (MEV, 9494/9495) formaban un conjunto que originalmente guarnecía el altar principal de la iglesia románica de santa Eugenia de Saga (Cerdaña, Cataluña). Al conjunto se le perdió el rastro tras la venta del frontal a un anticuario francés en 1896. Frontal y laterales no se habían vuelto a poner en relación debido a las diferencias de la policromía y a su supuesta procedencia distinta hasta la realización de esta investigación. Las evidencias han sido halladas mediante el análisis científico del soporte y el estudio de los vestigios de policromía conservados en los marcos de las tres obras. Esta es la segunda vez que se ha demostrado la unidad de un conjunto de altar del período del gótico lineal a partir del estudio del soporte, hecho que pone de relieve la importancia de los estudios técnicos de conservación-restauración.