Effect of thermal accelerated ageing on the properties of model canvas paintings

Sora, Silvio; Scicolone, Giovanna C.; Testa, Giovanni; Bonfatti, Anna Maria; Rossi, Edinéia Regina; Seves, A.M

doi:10.1016/s1296-2074(00)01078-5

Cited by 19 publications

(14 citation statements)

References 5 publications

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“…The addition of a deacidification agent counteracts the acidity of a canvas and delays its chemical degradation (Poggi et al, 2013) and therefore its fragility (Seves et al, 2000). This is not a frequently used procedure, although a reassessment of its conservation cost-benefit might be timely.…”

Section: Introductionmentioning

confidence: 99%

Collections care scenario appraisal for painting canvases at Museu Nacional d'Art de Catalunya, Barcelona, Spain

Oriola

Campo

Ruiz-Recasens

et al. 2015

Studies in Conservation

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We surveyed the canvas of 31 paintings from the collection of the Museu Nacional d'Art de Catalunya, Barcelona, Spain, using non-destructive near infrared spectroscopy (NIR) in order to determine the pH and degree of polymerisation (DP) of the canvas supports. The data showed that the canvases, all from 1890 to 1910, are acidic (average pH 5.1 ± 0.4) and fairly degraded (DP 710 ± 260). Using the doseresponse function for cellulosic materials with pH, DP, T, and relative humidity (RH) as inputs, the rate of degradation can be calculated, as well as the period of time until the point when the canvases become so fragile that their handling could lead to mechanical damage and thus risk the integrity of paint layers. On the basis of the survey data, we calculated isochrone plots as well as demographic curves for the collection. Using these, we explored a number of conservation management scenarios and compared them with the expected rate of degradation under current average environmental conditions (21°C, 58% RH). At these conditions, it is predicted that the average canvas will become fragile and might require interventive treatment in ca. 140 years. However, if the storage temperature is decreased, or if the canvases are deacidified, the period of time until treatment becomes necessary can be considerably increased. As a separate case study we also present a survey of the canvas of The Woman in Hat and Fur Collar (Marie-Thérèse Walter) by Pablo Picasso. The pH and DP of this canvas was determined in 15 sampling points, the averages being pH 5.6 ± 0.2 and DP 1700 ± 320, which allowed us to calculate the isochrone plot for this canvas.

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Section: Introductionmentioning

confidence: 99%

Collections care scenario appraisal for painting canvases at Museu Nacional d'Art de Catalunya, Barcelona, Spain

Oriola

Campo

Ruiz-Recasens

et al. 2015

Studies in Conservation

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show abstract

“…2 These cellulosic materials are known to be sensitive to acidity of their macromolecular environment, as acids accelerate the rate of hydrolysis of glycosidic bonds in cellulose. 5 However, for painting canvases, no quantitative comparison between canvas quality and DP/pH exists, which would make it possible to interpret analytical results (the state of a material) in terms of conservation condition 6 of a piece of canvas. However, application of the primer, paint, glues, and absorption of acidic gases from the environment leads to acidication of the material.…”

Section: Introductionmentioning

confidence: 99%

Looking beneath Dalí's paint: non-destructive canvas analysis

et al. 2014

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A new analytical method was developed to non-destructively determine pH and degree of polymerisation (DP) of cellulose in fibres in 19 th -20 th century painting canvases, and to identify the fibre type: cotton, linen, hemp, ramie or jute. The method is based on NIR spectroscopy and multivariate data analysis, while for calibration and validation a reference collection of 199 historical canvas samples was used. The reference collection was analysed destructively using microscopy and chemical analytical methods.Partial least squares regression was used to build quantitative methods to determine pH and DP, and linear discriminant analysis was used to determine the fibre type. To interpret the obtained chemical information, an expert assessment panel developed a categorisation system to discriminate between canvases that may not be fit to withstand excessive mechanical stress, e.g. transportation. The limiting DP for this category was found to be 600. With the new method and categorisation system, canvases of 12 Dalí paintings from the Fundació Gala-Salvador Dalí (Figueres, Spain) were non-destructively analysed for pH, DP and fibre type, and their fitness determined, which informs conservation recommendations. The study demonstrates that collection-wide canvas condition surveys can be performed efficiently and non-destructively, which could significantly improve collection management.

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“…This was done with a pH meter (Mettler Toledo) using the cold extraction method and a capillary tube viscometer according to ISO standard 5353:2004. The canvas was thermally degraded for 9 days at 120 °C, at 130 °C for 6 days, and at 150 °C for 12 h. This staggered ageing was done due to time constraints and the need to achieve a set level of degradation, which was < 1000, as is usual for a degraded canvas (17). Achieving this level of degradation is more important than the method of degradation as the effect on DP is the same regardless of the method of degradation.…”

Section: Canvas Preparationmentioning

confidence: 99%

The Influence of Animal Glue on Mechanical Properties of Painting Canvases

Duggan¹,

Strlič²,

Grau-Bové³

2020

Preprint

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Glues derived from animal products have been used in the preparation and conservation of painting canvas for hundreds of years. However, it is not clear how exactly these adhesives contribute to the mechanical strength of a canvas and how this contribution changes with time. This comparative study looks at the effect of age, thickness, and type of animal glue on the mechanical reinforcement the glues provide to canvas. Isinglass, rabbit skin, bovine hide and bone glue are compared. The mechanical strength of the canvas and glue system have been measured with a tensile test. The influence of glue on the tensile response of canvas has been observed in the slope of the initial region of the stress-strain curve for these samples. This region has been identified as the initial load-bearing region which corresponds to the glue coating. The major contributing factor to change mechanical reinforcement of canvas is found to be the degradation of the glue, however the type of glue used plays a small role as does the thickness of the glue applied.

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Effect of thermal accelerated ageing on the properties of model canvas paintings

Cited by 19 publications

References 5 publications

Collections care scenario appraisal for painting canvases at Museu Nacional d'Art de Catalunya, Barcelona, Spain

Collections care scenario appraisal for painting canvases at Museu Nacional d'Art de Catalunya, Barcelona, Spain

Looking beneath Dalí's paint: non-destructive canvas analysis

The Influence of Animal Glue on Mechanical Properties of Painting Canvases

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