Characterization and degradation of poly(vinyl acetate)-based adhesives for canvas paintings

Chelazzi, David; Chevalier, Aurelia; Pizzorusso, Giacomo; Giorgi, Rodorico; Menu, Michel; Baglioni, Piero

doi:10.1016/j.polymdegradstab.2013.12.028

Cited by 56 publications

(42 citation statements)

References 27 publications

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“…[1][2][3] In einigen Fällen bilden diese Schichten schädliche Verbindungen (z. B. saure flüchtige organische Verbindungen, VOCs) [4] oder verändern die physikalisch-chemischen Eigenschaften der Artefakte.Soverändern Acrylatharze auf der Oberfläche von Wandmalereien die Porositätd es Untergrunds und be-hindern die Wasserdampfdurchlässigkeit, was das Wachstum von Salzkristallen an der Grenzfläche zwischen Harz und Wandmalerei fçrdert und schließlich zu starken mechanischen Spannungen in den Poren und zu Rissen der Gemäldeoberfläche führt. [5] In der herkçmmlichen Konservierungspraxis beruht die Entfernung unerwünschter Schichten auf der Solubilisierung entweder in reinen Lçsungsmitteln oder in Lçsungsmittelgemischen.…”

Section: Grenzen Der Klassischen Methoden Zur Reinigung Von Artefaktenunclassified

“…[1][2][3] In several cases these layers develop detrimental compounds (e.g. acidic volatile organic compoundsVOCs), [4] or alter the physico-chemical properties of the artefacts. For instance, acrylate resins on the surface of murals modify the substrate's porosity and hinder permeability to water vapour, favouring the growth at the resin-mural interface of salts crystals, eventually resulting in strong mechanic stress in the pores and the disruption of the painting surface.…”

Section: The Limits Of Classical Approaches To Cleaning Artefactsmentioning

confidence: 99%

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Mikroemulsionen, Micellen und funktionelle Gele: Erhaltung von Kunstwerken mit Kolloiden und weicher Materie

Chelazzi¹,

Giorgi²,

Baglioni³

2018

Angewandte Chemie

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Die Kolloidwissenschaft liefert grundlegende Erkenntnisse für z. B. die pharmazeutische Industrie oder die Wasch‐ und Reinigungsmittel‐, Farb‐ und Nahrungsmittelindustrie. Eine interessante Anwendung ist die Erhaltung von Kunstwerken, die wegen der komplexen Grenzflächenwechselwirkungen, die mit der Restaurierung von Artefakten verbunden sind, eine anspruchsvolle Aufgabe ist. Derzeit ist die Mehrzahl der wirksamsten und umweltverträglichsten Reinigungs‐ und Konsolidierungsmittel für Kunstwerke der weichen Materie und Kolloiden zuzuordnen. Die Entwicklung und Anwendung von immer komplexeren Systemen, von Mikroemulsionen bis zu semi‐interpenetrierenden Hydrogelen, die derartige Flüssigkeiten enthalten, werden in diesem Kurzaufsatz aufgezeigt. Diese Systeme wurden bei verschiedenen Artefakten eingesetzt: von Fresken der Renaissance bis zu Werken von Picasso und Pollock. Chemisches Design kann genutzt werden, um den Anforderungen von Konservatoren gerecht zu werden, und mit den Erkenntnissen zur Struktur und Dynamik von Kolloiden können zufällige Ansätze der herkömmlichen Konservierungspraxis überwunden werden. Außerdem werden die Perspektiven der Anwendung von Kolloiden und weicher Materie für die Erhaltung von Kulturerbe zusammengefasst.

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Section: Grenzen Der Klassischen Methoden Zur Reinigung Von Artefaktenunclassified

Section: The Limits Of Classical Approaches To Cleaning Artefactsmentioning

confidence: 99%

Mikroemulsionen, Micellen und funktionelle Gele: Erhaltung von Kunstwerken mit Kolloiden und weicher Materie

Chelazzi¹,

Giorgi²,

Baglioni³

2018

Angewandte Chemie

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“…All of these products can undergo degradation, for instance through competitive cross-linking and scission of polymer chains (leading to change in molecular weight, solubility,a nd mechanical properties), or through photo-oxidation and successive thermal reactions (dehydration, condensation) that form extended conjugated structures,p roducing yellowing. [1][2][3] In several cases these layers develop detrimental compounds (for example,a cidic volatile organic compounds,V OCs), [4] or alter the physicochemical properties of the artefacts.F or instance,a crylate resins on the surface of murals modify the substrate porosity and hinder permeability to water vapour, favouring the growth of salt crystals at the resin-mural interface,eventually resulting in strong mechanic stress in the pores and the disruption of the painting surface. [5] In the traditional conservation practice,t he removal of unwanted layers is based on their solubilization either in pure solvents or solvent blends.S olubility is commonly predicted using parameters calculated according to different models.…”

Section: The Limits Of Classical Approaches To Cleaning Artefactsmentioning

confidence: 99%

Microemulsions, Micelles, and Functional Gels: How Colloids and Soft Matter Preserve Works of Art

2018

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Colloid science provides fundamental knowledge to fields such as the pharmaceutical, detergency, paint, and food industry. An exciting application is art conservation, which poses a challenge owing to the complex range of interfacial interactions involved in restoring artefacts. Currently, the majority of the most performing and environmentally safe cleaning and consolidation agents for artworks belong to soft matter and colloids. The development and application of increasingly complex systems, from microemulsions to semi-interpenetrating hydrogels containing such fluids, is presented. These systems have been used on diverse artefacts, from Renaissance frescos to works by Picasso and Pollock. Chemical design can be implemented to meet the requirements of curators, and knowledge of the colloid structure and dynamics can overcome serendipitous approaches of traditional conservation practice. Future perspectives for soft matter and colloid science in the field of cultural heritage preservation are also summarized.

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“…For instance, gels loaded with EAPC were used on canvas samples that had been treated with Mowilith DM5 ® , a commercial adhesive based on vinyl acetate and n-butyl acrylate. In fact, polyvinyl acetate-based adhesives such as Mowilith DM5 ® and DMC2 ® are prone to degradation upon aging (Chelazzi et al 2014), and one of the main degradation routes involves the release of organic acids that are detrimental to the canvas fibers. The application of the gel (contact time: 4 h) produced the swelling and softening of the adhesive, which was then detached from the canvas through a gentle mechanical action.…”

Section: Formulationsmentioning

confidence: 99%

Cleaning of Easel Paintings

Baglioni

Chelazzi

Giorgi

2014

Nanotechnologies in the Conservation of Cultural Heritage

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Cleaning of easel paintings is traditionally carried out using organic solvents or aqueous solutions. One of the main limitations is due to the lack of control in the cleaning action when non-confined solvents and solutions are used. Undesired effects include swelling or solubilization of original artistic materials, uncontrolled or excessive removal of layers and patinas, and re-transport of solubilized matter through the porous matrix of the artifact. These issues can be effectively addressed by confinement of the cleaning fluids in gel networks. As a matter of fact, conservators have adopted several gel and 'gel-like' formulations (e.g. viscous dispersions of thickening agents), aiming at the non-invasive and gradual cleaning of works of art. This chapter reports on the main traditional systems and on the innovative gels and dispersions developed in the last decade in the framework of colloid and surface science for the preservation of cultural heritage. In particular, both highly retentive chemical gels and "peelable" viscoelastic dispersions are discussed, illustrating applicative procedures.

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Characterization and degradation of poly(vinyl acetate)-based adhesives for canvas paintings

Cited by 56 publications

References 27 publications

Mikroemulsionen, Micellen und funktionelle Gele: Erhaltung von Kunstwerken mit Kolloiden und weicher Materie

Mikroemulsionen, Micellen und funktionelle Gele: Erhaltung von Kunstwerken mit Kolloiden und weicher Materie

Microemulsions, Micelles, and Functional Gels: How Colloids and Soft Matter Preserve Works of Art

Cleaning of Easel Paintings

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