Long-Term Chemical and Physical Processes in Oil Paint Films

Erhardt, David; Tumosa, Charles S.; Mecklenburg, Marion F.

doi:10.1179/sic.2005.50.2.143

Cited by 91 publications

(76 citation statements)

References 7 publications

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“…Hydrolysis of linseed oil can be quite extensive in lead white paints even after drying. After ten years, one paint film stored under museum conditions was found to have its saturated fatty acid ester linkages reduced by almost 25% [84]. Commercial lead white outdoor paints in contact with light and moisture can reach this level in less than three years [75].…”

Section: Chemical Compositionmentioning

confidence: 99%

The influence of lead ions on the drying of oils

Tumosa

Mecklenburg

2005

Studies in Conservation

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Section: Chemical Compositionmentioning

confidence: 99%

The influence of lead ions on the drying of oils

Tumosa

Mecklenburg

2005

Studies in Conservation

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“…Centimetric strips of free paint films were then removed from the support and characterized by tensile testing. From such studies, valuable information was gained on the influence of the type of pigments, aging of paint, temperature, relative humidity and solvents on the mechanical properties of paint films [5,6,[8][9][10][11]. Effects of solvents and of relative humidity on paint properties were also investigated by thermomechanical measurements on small samples of reconstructed paint, providing information indirectly related to mechanical properties, such as the compressibility as a function of temperature or viscoelastic behavior [12,13].…”

Section: Introductionmentioning

confidence: 99%

Nanoindentation and the micromechanics of Van Gogh oil paints

Salvant

Barthel

2011

Appl. Phys. A

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Understanding the mechanical properties of ancient paintings is a major issue for conservation and restoration. One strategy is to measure the mechanical properties of reconstructed paints: however the aging process is poorly known, so it is also desirable to measure mechanical properties directly on ancient paint samples. Using nanoindentation, we have characterized submillimetric samples recovered from restoration of two Van Gogh paintings and compared the results with reconstructed paint samples. We demonstrate that the reduced modulus and hardness of historical paints can be measured at a very local scale, even differentiating between each paint layer. Our reconstructed paint samples exhibit elastic moduli comparable to literature values, but the values measured on the two 19 th century paint samples are found to be significantly larger. Similarly, the compositional dependence of the elastic modulus is consistent with literature results for our reconstructed samples while our preliminary results for ancient samples do not readily fall into the same pattern. These results all point out to a significant impact of long term aging, in a manner which is difficult to predict in our present state of understanding. They demonstrate that nanoindentation is a very adequate tool to improve our knowledge of art paint mechanics and aging.

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“…Over time, the evaporation of volatile compounds (such as alcohols, aldehydes and ketones) from the oxidative cross-linking reactions occurred, leading to weight losses [16]. As the drying speed is slowed by the presence of a non-drying oil, it is possible that the evaporation rate also occurred slowly, causing the formation of more visible, deeper wrinkles [17]. Then three 'pink' Concetto spaziale (a detail of the painting labelled 62 O 66 is depicted in Fig.…”

Section: Instrumental Detailsmentioning

confidence: 99%

20th century artists’ oil paints: The case of the Olii by Lucio Fontana

Izzo

Ferriani²,

Berg

et al. 2014

Journal of Cultural Heritage

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a b s t r a c tDuring the 20th century, many innovative binders have been rapidly introduced to the art world and soon became popular as artists' paints and pictorial media. However, despite the advantages that new synthetic materials presented, oil paints have never been entirely substituted. Indeed, this paper focuses on the results provided by the scientific analysis of a group works from the oeuvre of Lucio Fontana , all of which created between 1960 and 1964 using oil-based media, and aims to illustrate how oils contained in the pictorial media have influenced these works' respective ageing and degradation processes. Despite the apparent coherence in the behaviour of many of Fontana's creations, some artworks revealed discrepancies in terms of the physical and mechanical behaviour of the pictorial films and in alterations resulting from degradation processes. Samples taken from case studies belonging to the Olii and Fine di Dio series were analysed using optical microscopy, X-Ray Fluorescence (XRF), FourierTransform Infrared Spectroscopy in attenuated total reflectance (FTIR-ATR) and Gas ChromatographyMass Spectrometry (GC-MS) in order to study and identify the materials employed by the artist and the products of their degradation processes. These analyses gave unexpected but useful results (such as the presence of non-drying or slow-drying oils in the paint formulations) which not only provided us with new insight into the nature of the constituent materials, but also facilitated the elaboration of correct conservation measures and suitable restoration interventions.

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Long-Term Chemical and Physical Processes in Oil Paint Films

Cited by 91 publications

References 7 publications

The influence of lead ions on the drying of oils

The influence of lead ions on the drying of oils

Nanoindentation and the micromechanics of Van Gogh oil paints

20th century artists’ oil paints: The case of the Olii by Lucio Fontana

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