A Physical Model of the Cleaning of Oil Paint

Michalski, Stefan

doi:10.1179/sic.1990.35.s1.020

Cited by 34 publications

(24 citation statements)

References 8 publications

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“…Since the conscientious conservator will aim to minimize any potential risks to an acceptable level before varnish removal is undertaken, any observable changes to original materials during treatment are unacceptable. Concern instead lies with the risk of engendering subtle long-term effects, invisible at the point of treatment yet indicated by previous research (Maschelein-Kleiner and Deneyer, 1981;Stolow, 1985;Erhardt and Tsang, 1990;Hedley et al, 1990;Michalski, 1990;Tsang and Erhardt, 1992;Phenix, 1998;Tumosa et al, 1999;Phenix and Sutherland, 2001;Sutherland, 2001;Phenix, 2002aPhenix, , 2002bFuesers and Zumbühl, 2008;Zumbühl et al, 2010;Zumbühl, 2014) and, from our experience, observable when examining previously treated paintings. However, given the individuality of each painting, the complexity of its structure, and the number of unknowns in its lifetime, it is not possible to quantitatively correlate these specific aspects of treatment history with current condition.…”

Section: Experimental Overviewmentioning

confidence: 65%

“…Solvent penetration with both techniques may follow a similar physical model of infiltration (by diffusive and capillary penetration; Michalski, 1990), but it appears that in the case of the thickened solvent application the amount of penetrating solvent is hindered by the gel matrix (in this case, hydroxypropyl cellulose). This correlates with the gravimetric result that indicates a restricted effective evaporation from the gel matrix.…”

Section: 1mentioning

confidence: 99%

“…Various methods and analytical techniques have been previously employed to investigate the effects of organic solvents on oil paint films (Stout, 1936;Jones, 1965;Maschelein-Kleiner and Deneyer, 1981;Stolow, 1985;Erhardt and Tsang, 1990;Hedley et al, 1990;Michalski, 1990 Tsang and Erhardt, 1992;Phenix, 1998;Tumosa et al, 1999;Phenix and Sutherland, 2001;Sutherland, 2001;Phenix, 2002aPhenix, , 2002bFuesers and Zumbühl, 2008;Zumbühl et al, 2010;Zumbühl, 2014). 1 Their results have been highly beneficial to our field in developing our conceptual modeling and understanding of paint films and the potential negative effects from solvents.…”

Section: Introductionmentioning

confidence: 99%

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The Noninvasive Analysis of Painted Surfaces: Scientific Impact and Conservation Practice

Nevin

Doherty²

2016

Smithsonian Contributions to Museum Conservation

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Smithsonian Institution Scholarly Press s m i t h s o n i a n c o n t r i b u t i o n s t o m u s e u m c o n s e r v a t i o n • n u m b e r 5The Noninvasive Analysis of Painted Surfaces Scientific Impact and Conservation Practice Edited by Austin Nevin and Tiarna Doherty SERIES PUBLICATIONS OF THE SMITHSONIAN INSTITUTIONEmphasis upon publication as a means of "diffusing knowledge" was expressed by the first Secretary of the Smithsonian. In his formal plan for the Institution, Joseph Henry outlined a program that included the following statement: "It is proposed to publish a series of reports, giving an account of the new discoveries in science, and of the changes made from year to year in all branches of knowledge." This theme of basic research has been adhered to through the years by thousands of titles issued in series publications under the Smithsonian imprint, commencing with Smithsonian Contributions to Knowledge in 1848 and continuing with the following active series: Published by SMITHSONIAN INSTITUTION SCHOLARLY PRESS

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Section: Experimental Overviewmentioning

confidence: 65%

Section: 1mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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The Noninvasive Analysis of Painted Surfaces: Scientific Impact and Conservation Practice

Nevin

Doherty²

2016

Smithsonian Contributions to Museum Conservation

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“…However, this cleaning method has several drawbacks such as the fact that wet methods do not preserve the health of the restor-ers and generate wastes which would need to be disposed correctly to avoid environmental damages [1]. In addition, the solvent may diffuse into the porosity of the underneath layers causing phenomena like swelling and leaching that leave the paint surface brittle with loss of mechanical strength [2][3][4][5]. The solubilised materials may migrate through the substrate and fill the porosities when the solvent is completely evaporated [1].…”

Section: Introductionmentioning

confidence: 99%

“…Moreover, it has been demonstrated that aqueous cleaning may cause wrinkles in the hydrophilic layers and it may leach out small amount of proteinaceous components from not aged films [11,13]. Reactions occur also within organic components such as water soluble inorganic pigments, leading to the dissolution and migration of metallic ions [4,5].…”

Section: Introductionmentioning

confidence: 99%

Sustainability in art conservation: a novel bio-based organogel for the cleaning of water sensitive works of art

Prati

Volpi

Fontana

et al. 2017

Pure and Applied Chemistry

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Organo-and hydrogels have been proposed in the restoration field to treat different types of surfaces. The possibility to retain solvents and to have a controlled and superficial action allowed to use these materials for the removal of very thin layers applied on ancient historical objects, when the under paint layers are particularly delicate and water sensitive. In the last years, an increased attention has been devoted to the proposal of more healthy products to guarantee the safeguard of the operators. Few attention has been devoted to the development of green methods which foresee the use of renewable and biodegradable materials. The aim of this paper is to test a green organo-gel for the cleaning of water sensitive surfaces like varnished egg tempera paintings. The gel has been tested experimented on mock ups varnished with natural and synthetic materials and has been validated on a small portion of a Cimabue painting for the removal of two varnishes applied on two different test areas of the painting.

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Effect of water in color changes of historical paintings

Pasquale

Gueli

2021

Color Research & Application

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In conservation and cleaning of historical paintings, the use of water was discouraged because of its effects in terms of swelling and leaching of pictorial materials and of color modification. Nevertheless, water can represent a good substitute of organic solvents and of other tools recently employed for cleaning and restoration. The research article assesses the wetting characteristics and to quantifies the effect of the water absorption on the color changes for historical paintings. For these purposes, different typologies of painting mock‐ups have been prepared in the laboratory to reproduce the main antique pictorial techniques. The results highlighted that the binder played an important function in the wetting properties assessed by contact angle measurement. The water absorption tests underlined that the topography of the painting surface strongly influenced the water absorption. The data have been correlated to colorimetric measurements to quantify the color alteration induced by water. This quantification is important to define the role of water‐based products in cleaning and conservation procedures. The water, in fact, could be a good tool of green chemistry to save the health of the restorer and the environment.

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A Physical Model of the Cleaning of Oil Paint

Cited by 34 publications

References 8 publications

The Noninvasive Analysis of Painted Surfaces: Scientific Impact and Conservation Practice

The Noninvasive Analysis of Painted Surfaces: Scientific Impact and Conservation Practice

Sustainability in art conservation: a novel bio-based organogel for the cleaning of water sensitive works of art

Effect of water in color changes of historical paintings

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