Aquazol as a consolidant for matte paint on Vietnamese paintings

Ebert, Bettina; Singer, Brian; Grimaldi, Nicky

doi:10.1080/19455224.2012.672813

Cited by 14 publications

(8 citation statements)

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“…In paintings conservation it has been observed that the application method and solution properties can affect the penetration of the consolidant into the paint and textile more than the properties of the polymer or resin used; however, this has not been evident in published textile conservation literature [7,8]. In this investigation, instrumental and sensory testing confirmed theories that lower concentrations and incorporating a volatile solvent into the consolidation solution to reduce the stiffening effect of consolidants on textiles.…”

supporting

confidence: 80%

The consolidation of mud-silk: A Southeast Asian textile

Blair

Thompson

2014

Studies in Conservation

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supporting

confidence: 80%

The consolidation of mud-silk: A Southeast Asian textile

Blair

Thompson

2014

Studies in Conservation

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“…It is retreatable in various solvents, has a neutral pH and remains flexible once dry and aged (Wolbers et al 1998;Arslanoglu 2003;2004;2005;Colombo et al 2015;La Nasa et al 2017). Higher molecular-weight types of Aquazol® (200 and 500) dissolved in 1:1 solution of de-ionised water (DW) and propan-2-ol have been successful for consolidating matte paint (Arslanoglu 2003;Ebert et al 2012;Colombo et al 2015).…”

Section: -Consolidants and Methods Selectionmentioning

confidence: 99%

“…In this study, an attempt was made to test different concentrations of solutions prepared with low volatility solvents, and used in up to ten applications to minimize the risk of visible film formations. In the literature multiple applications of dilute solutions were shown to be more effective than using just one concentrated solution (Maheux and McWilliams 1995;Michalski and Dignard 1997;Michel, 2011;Ebert et al 2012). Therefore, although successful methodologies for consolidating friable paint have been based on the use of an ultrasonic mister or similar (Maheus and McWilliams 1995;Dignard et al 1997;Michalski and Dignard 1997;Michalski et al 1998), these techniques were not adopted for these tests as this work required only very low concentration solutions of adhesive.…”

Section: -Selection Process Of the Application Methodsmentioning

confidence: 99%

“…Also, a comparative study was undertaken of different traditional and modern adhesives and established methodologies for the consolidation of matte paint (Hansen and Lowinger 1990;Dignard et al 1997;Michalsky and Dignard 1997;Geiger and Michel 2005;Ebert et al 2012) to evaluate their efficacy, workability and performance. Two methods were employed to apply the adhesives onto the samples: with a brush (Calvo et al 2002;Villarquide 2005;Michel 2011;Von der Goltz et al 2012;Thuer 2012); and by spray (Welsh 1980;Villarquide 2005).…”

Section: Rationale -Preparation Of Samplesmentioning

confidence: 99%

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An investigation into adhesives to consolidate distemper paintings on canvas

Simarro¹

2020

GEC

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This article investigates traditional and modern adhesives used to consolidate distemper paintings on canvas, with special reference to sixteenth century Hispano-tüchlein paintings, also called sargas. Such artworks are not only difficult to handle due to their large size, but they are also inherently fragile and/or are highly hygroscopic. This sensitivity is caused in part by the nature of the painting technique as well as the lack of varnish, which might account for why conservation methods related to these works have not been addressed in the past. This investigation was conducted on historical reconstructions samples to assess and develop treatment strategies for distemper paintings, in particular issues linked to powdery/friable matte paint layers. The impact of several adhesives on the painted surface of historical reconstructions was evaluated before and after the samples were subjected to humidity cycling tests using a range of analytical techniques. Such information can be used to aid conservators who face consolidation issues related to underbound paintings or artworks with similar surfaces. The results reveal that there is no one perfect adhesive for matte paint nor one that can be removed completely, once applied. Aquazol® 200 and Funori performed the best, but still introduced changes in colour and gloss, even if minimal.

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“…Conservators have tested and applied Aquazol as a weak adhesive [9,14,15,], as a consolidant and filler [8,16,17,18,19,20], and as an ingredient in the preparation of bole for the application of gilding [21]. However, to date it has only been tested on a few painted surfaces [22].…”

Section: Introductionmentioning

confidence: 99%

Aquazol as a binder for retouching paints. An evaluation through analytical pyrolysis and thermal analysis

Nasa

Marco

Bernazzani

et al. 2017

Polymer Degradation and Stability

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Aquazol poly (2-ethyl-oxazoline) is a tertiary aliphatic amide, with physical and chemical properties that are exploited in a variety of ways, from pharmaceutical applications to the conservation of cultural heritage. In this study, we evaluated the use of Aquazol as a new binder for retouching paint in the restoration of artworks. Aquazol 500 admixed with various formulations of organic red pigments was used to prepare paint replicas which were artificially aged and investigated by a multi-analytical approach based on analytical pyrolysis coupled with gas chromatography and mass spectrometry (Py-GC/MS), and thermogravimetry (TG), complemented by FTIR and LIBS spectroscopy. This is the first study on the ageing phenomena of Aquazol 500 using analytical pyrolysis and thermogravimetric analysis. The influence of the pigments' components on the pyrolysis behavior of Aquazol was also investigated. The paint replicas did not show significant modifications during artificial ageing. This thus highlights the optimal properties of Aquazol 500 as a binder for retouching, in addition to its already established suitability as a filler or consolidant in the restoration of artifacts. Interestingly, when Aquazol 500 is used in formulations containing organic pigments, Aquazol-pigment interactions are observed, strongly depending on the pigment used

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Aquazol as a consolidant for matte paint on Vietnamese paintings

Cited by 14 publications

References 0 publications

The consolidation of mud-silk: A Southeast Asian textile

The consolidation of mud-silk: A Southeast Asian textile

An investigation into adhesives to consolidate distemper paintings on canvas

Aquazol as a binder for retouching paints. An evaluation through analytical pyrolysis and thermal analysis

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