Guard Dog II (1969–1970) by Jean Dubuffet is an artwork that shows the characteristics of the artist's l'hourloupe period (1962–1974). This study revealed the materials and manufacturing techniques used by the artist at the time through material analysis of Guard Dog II, and suggested an appropriate conservation treatment method for the work through a cleaning test. Dust, stains, discoloration, cracks, etc. were observed on the surface of the artwork and stains were particularly severe and discoloration required conservation treatment. Prior to treatment, multiple analytical approaches such as Fourier transform infrared spectroscopy, Raman spectroscopy and gas chromatography/mass spectrometer were applied to identify the materials of the paint layers and confirm the state of the conservation of the artworks. As a result, it was confirmed that polyurethane paint was used in the artwork, and the pigment used for each color was also identified. For the stable conservation treatment of the artwork, the chromaticity, glossiness and workability of the cleaning materials were evaluated, and it was found that isopropyl alcohol and nonionic surfactant were suitable for cleaning. The conservation treatment was performed based on results from the cleaning test, and the artwork was restored cleanly. Since most of the existing research on cleaning methods has been focused on painting, this study contributes to the conservation of sculptures by suggesting cleaning methods suitable for three-dimensional colored objects. Article highlights The materials and production techniques used in Jean Dubuffet, Guard Dog II were confirmed. As cleaning materials for deteriorated artworks, isopropyl alcohol and non-ionic surfactants are effective. Hydrogels are not suitable for this work due to the type and characteristics of the gels.

This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.