Amphiphile-based nanofludis for the removal of styrene/acrylate coatings: Cleaning of stucco decoration in the Uaxactun archeological site (Guatemala)

Baglioni, Michele; Benavides, Yareli Jáidar; Desprat-Drapela, Alice; Giorgi, Rodorico

doi:10.1016/j.culher.2015.03.008

Cited by 22 publications

(18 citation statements)

References 16 publications

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“…Amphiphile‐based nanostructured fluids (NSFs), such as micellar solutions and microemulsions, were proposed to overcome these drawbacks. Several NSFs have been tested so far and their performances assessed both in laboratory and in real conservation tests for the removal of aged and discolored fixatives, or protective and consolidating agents from wall paintings . Currently, several mechanistic aspects of the action of NSFs in polymer film removal are not fully understood.…”

Section: Figurementioning

confidence: 99%

Polymer Film Dewetting by Water/Surfactant/Good‐Solvent Mixtures: A Mechanistic Insight and Its Implications for the Conservation of Cultural Heritage

et al. 2018

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Aqueous nanostructured fluids (NSFs) have been proposed to remove polymer coatings from the surface of works of art;this process usually involves film dewetting.The NSF cleaning mechanism was studied using several techniques that were employed to obtain mechanistic insight on the interaction of amethacrylic/acrylic copolymer (Paraloid B72) film laid on glass surfaces and several NSFs,b ased on two solvents and two surfactants.The experimental results provide adetailed picture of the dewetting process.The gyration radius and the reduction of the T g of Paraloid B72 fully swollen in the two solvents is larger for propylene carbonate than for methyl ethyl ketone,suggesting higher mobility of polymer chains for the former,while anonionic alcohol ethoxylate surfactant was more effective than sodium dodecylsulfate in favoring the dewetting process.FTIR 2D imaging showed that the dewetting patterns observed on model samples are also present on polymer-coated mortar tiles when exposed to NSFs.Aged and discolored varnishes,old fixatives,a dhesives,a nd

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Section: Figurementioning

confidence: 99%

Polymer Film Dewetting by Water/Surfactant/Good‐Solvent Mixtures: A Mechanistic Insight and Its Implications for the Conservation of Cultural Heritage

et al. 2018

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“…Amphiphile-based aqueous nanostructured fluids, such as micellar solutions and microemulsions, are nowadays valid alternatives to traditional cleaning methodologies in these contexts [ 1 , 2 , 7 , 8 , 9 , 10 ]. Their use in the conservation of cultural heritage was proposed for the first time in the early 1990s for the removal of wax stains from the frescoes, by Masaccio and Masolino, in the Brancacci Chapel in Florence, Italy [ 1 , 7 ].…”

Section: Introductionmentioning

confidence: 99%

A Triton X-100-Based Microemulsion for the Removal of Hydrophobic Materials from Works of Art: SAXS Characterization and Application

et al. 2018

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The removal of hydrophobic materials from a porous support, such as wax stains on wall paintings, is particularly challenging. In this context, traditional methods display several drawbacks. The limitations of these methods can be overcome by amphiphile-based aqueous nanostructured fluids, such as micellar solutions and microemulsions. In this study, a microemulsion for the removal of wax spots from artistic surfaces was formulated. The nanostructured fluid includes a non-ionic surfactant, i.e., Triton X-100, and two apolar solvents, namely p-xylene and n-nonane. The solvents were selected on the basis of solubility tests of three waxes in several organic solvents. The nanostructured fluid was characterized by means of small-angle X-rays scattering (SAXS) and the information about micelle structure was used to understand the interaction between the microemulsion and the selected waxes. The microemulsion was then tested during the restoration of the frescoes in the Major Chapel of the Santa Croce Basilica in Florence, Italy. After some preliminary tests on fresco mockups reproduced in the laboratory, the nanostructured fluid was successfully used to clean some wax deposits from the real paintings, hardly removable with traditional physico-mechanical methods.

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“…Based on such requirements, the study group investigated and tested for the first time a combined system where an o/w NSF, specifically targeted at the removal of the non-original varnish used on The Studio, was confined into a TC-PN hydrogel. In the last decades, NSFs have proved to be highly efficient in the swelling and removal of hydrophobic coatings [8][9][10][11][12][13][14][15][16], as they work through a removal mechanism that, for high molecular weight substances such as polymers, is based on dewetting and detachment, thus allowing a more controlled surface cleaning with respect to traditional solvent chemistry [17][18][19][20][21]. As mentioned, the use of aqueous fluids on modern oil paints requires special attention, and an optimal strategy is thus to confine cleaning fluids in retentive gel matrices, minimizing the risks to the artifacts [22][23][24][25][26][27][28][29][30].…”

Section: Introductionmentioning

confidence: 99%

Twin-chain polymer networks loaded with nanostructured fluids for the selective removal of a non-original varnish from Picasso’s “L’Atelier” at the Peggy Guggenheim Collection, Venice

Buemi¹,

Petruzzellis²,

Chelazzi

et al. 2020

Herit Sci

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This paper reports on the evaluation of a polyvinyl alcohol (PVA) "twin-chain" polymer network (TC-PN) combined with an oil-in-water nanostructured fluid (NSF) for the removal of a polyvinyl acetate (PVAc) varnish. Small Angle X-ray Scattering, Confocal Laser Scanning Microscopy, and Fluorescence Correlation Spectroscopy showed that the structure of the gel and the NSF are only minimally altered by loading the fluid into the gel. The NSF is partially free to diffuse through the network, but also interacts with the gel walls. During the cleaning, the dynamics of the fluid at the gel-substrate interface are controlled by the osmotic balance taking place among the interconnected pores. These features grant effective and controlled cleaning performances. The case study identified for this research is Pablo Picasso's The Studio (L'Atelier, 1928), one of the masterpieces in the Peggy Guggenheim Collection, Venice (PGC). In 1969 the oil painting, originally unprotected, was wax-lined and then varnished using a PVAc varnish. Over the years, the white shades of the painting have been compromised by the yellowing of the varnish and soiling of deposits. On painting mock-ups, the NSF-loaded hydrogels allowed the swelling and softening of PVAc varnish and wax layers, which were then removed with gentle mechanical action. Effective varnish and wax removal at the micron scale, and the absence of residues from the cleaning system (gel and NSF), were confirmed by Fourier Transform Infrared Spectroscopy (FTIR) 2D imaging. The effective and safe removal of the aged PVAc varnish and wax layer from the surface of the painting was then carried out using the same cleaning protocol successfully tested on the mock-ups, setting the NSF-loaded PVA TC-PNs as robust and reliable tools for the cleaning of sensitive works of art.

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Amphiphile-based nanofludis for the removal of styrene/acrylate coatings: Cleaning of stucco decoration in the Uaxactun archeological site (Guatemala)

Cited by 22 publications

References 16 publications

Polymer Film Dewetting by Water/Surfactant/Good‐Solvent Mixtures: A Mechanistic Insight and Its Implications for the Conservation of Cultural Heritage

Polymer Film Dewetting by Water/Surfactant/Good‐Solvent Mixtures: A Mechanistic Insight and Its Implications for the Conservation of Cultural Heritage

A Triton X-100-Based Microemulsion for the Removal of Hydrophobic Materials from Works of Art: SAXS Characterization and Application

Twin-chain polymer networks loaded with nanostructured fluids for the selective removal of a non-original varnish from Picasso’s “L’Atelier” at the Peggy Guggenheim Collection, Venice

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