The role of the polymeric network in the water sensitivity of modern oil paints

Nasa, Jacopo La; Lee, Judith; Degano, Ilaria; Burnstock, Aviva; Berg, Klaas Jan van den; Ormsby, Bronwyn; Bonaduce, Ilaria

doi:10.1038/s41598-019-39963-z

Cited by 24 publications

(29 citation statements)

References 33 publications

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“…One of the swatches (dating to 2003) is now water sensitive, whilst the other (dating to 1993) is not. Water sensitivity appeared to be related to the degree of cross-linking and oxidation of the paint, where the water sensitive paint (2003) had a more polar and less extensively polymerized network 25 . Such difference in the degree of cross-linking might be related to the age difference between the two paints.…”

Section: Degradation Issues Of Modern Oil Paintingsmentioning

confidence: 99%

Conservation Issues of Modern Oil Paintings: A Molecular Model on Paint Curing

Bonaduce,

Duce,

Lluveras-Tenorio

et al. 2019

Acc. Chem. Res.

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20th-and 21st-century oil paintings are presenting a range of challenging conservation problems that can be distinctly different from those noted in paintings from previous centuries. These include the formation of vulnerable surface 'skins' of medium and exudates on paint surfaces, efflorescence, unpredictable water and solvent sensitivity and incidence of paint dripping which can occur within a few years after the paintings were completed.Physicochemical studies of modern oil paints and paintings in recent years have identified a range of possible causal factors for the noted sensitivity of painting surfaces to water and protic solvents, including the formation of water-soluble inorganic salts and/or the accumulation of diacids at the paint surface, which are oxidation products of the oil binder. Other studies have investigated the relationship between water sensitivity and the degree of hydrolysis of the binder, the proportions of free fatty and dicarboxylic acids formed, as well as the relative content of free metal soaps. Thus far, data indicate that the qualitative and quantitative composition of the non-polymerised fractions of the oil binder cannot be solely or directly related to the solvent sensitivity of the paint film.Conclusions therefore indicate that the polymeric network, formed upon the curing of the oil plays a fundamental role; suggesting that water sensitivity -at least in some cases -may be related to the poor development, and/or polar nature of the formed polymeric network rather than the composition of the non-polymerised fractions.Poorly developed polymeric networks, in combination with the migration of polar fractions i.e. dicarboxylic and hydroxylated fatty acids towards the paint surface, can be related to other degradation phenomena, including the separation and migration of the paint binder which can lead to the presence of observable skins of medium, as well as the more alarming phenomenon of liquefying or dripping oil paints. It is thus crucial to understand the molecular composition of these Among the issues encountered, water sensitivity is proving particularly challenging, as the removal of accumulated, deposited soiling, often known as surface cleaning, traditionally relies upon water as the key component. In these cases, water may not be safely applied without causing undesirable surface disruption and pigment pick-up [3][4][5][6][7] .Water sensitivity has now been identified in model oil paint samples prepared from raw materials 4,8,9 , in samples taken from batches of manufactured paint 10 , and in several paintings [9][10][11][12][13] .Sensitivity may be limited to certain colours, may affect the whole surface of a painting, may be specific to some paint brands or lines, and may affect specific pigments across several brands 8,10,13 .Recent research has identified some of the causes and/or contributing factors relating to the changes observed in modern oils (i.e. water sensitivity and poor drying behaviour) including: the conversion of magnesium carbonate filler material use...

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Section: Degradation Issues Of Modern Oil Paintingsmentioning

confidence: 99%

Conservation Issues of Modern Oil Paintings: A Molecular Model on Paint Curing

Bonaduce,

Duce,

Lluveras-Tenorio

et al. 2019

Acc. Chem. Res.

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“…Although analytical pyrolysis does not provide absolute quantitation, it does provide semiquantitative data, useful to evaluate various proprieties of a lipid material, such as the degree of polymerization (La Nasa et al, 2019). However, interpreting the pyrograms is critical, especially for aged natural materials, due to the formation of a high number of thermal degradation products resulting in a complex chromatogram.…”

Section: Gas Chromatography‐based Approachesmentioning

confidence: 99%

“…From 2018, the Poroshell‐based method was further optimized by adding 15% water to the starting mobile phase to enhance the efficiency of the chromatographic separation as well as to improve the separation of MAGs, DAGs, TAGs, and their relative oxidation/hydrolysis products in one single run (La Nasa et al, 2018a, 2019).…”

Section: Analysis Of Paint Samplesmentioning

confidence: 99%

“…This derivatization reaction does not lead to any transesterification of the acylglycerols, thus not altering the original lipid composition of the drying oil. This procedure was first applied for the characterization of Winsor & Newton swatches produced in 1993 and 2003 by La Nasa et al (2019), to investigate the causes of the water sensitivity in modern oil paints. The paint samples were pretreated using the microwave‐assisted extraction procedure described above.…”

Section: Analysis Of Paint Samplesmentioning

confidence: 99%

“…( a ) Extracted ion current chromatograms obtained for the species detected in the derivatized extract of the 2003 Winsor & Newton paint sample (FFAs detected as HQ derivatives) (La Nasa et al 2019); ( b ) HR‐MS/MS mass spectrum (collision cell voltage set at 50 V), structure and fragmentation pattern of the derivatized palmitic acid. Reprinted from La Nasa et al (2018a) with permission from Elsevier.…”

Section: Analysis Of Paint Samplesmentioning

confidence: 99%

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Liquid chromatography and mass spectrometry for the analysis of acylglycerols in art and archeology

Nasa

Modugno

Degano

2020

Mass Spectrometry Reviews

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Lipid characterization in art and archeology, together with the study of lipid degradation processes, is an important research area in heritage science. Lipid‐based materials have been used as food since ancient times, but also employed as illuminants and as ingredients in cosmetic, ritual, and pharmaceutical preparations. Both animal and plant lipids have also been processed to produce materials used in art and crafts, such as paint binders, varnishes, waterproofing agents, and coatings. Identifying the origin of the lipid materials is challenging when they are found in association with artistic historical objects. This is due to the inherent complex composition of lipids, their widespread occurrence, and the chemical alterations induced by ageing. The most common approach for lipid characterization in heritage objects entails profiling fatty acids by gas chromatography/mass spectrometry after saponification or transesterification. New developments in high‐performance liquid chromatography coupled with mass spectrometry (HPLC‐MS) for the characterization of acylglycerols, together with more efficient sample treatments, have fostered the introduction of liquid chromatography for characterizing the lipid profile in heritage objects. This review reports the latest developments and applications of HPLC‐MS for the characterization of lipid materials in the field of heritage science. We describe the various approaches for sample pretreatment and highlight the advantages and limitations of HPLC‐MS in the analysis of paint and archeological samples. © 2020 John Wiley & Sons Ltd.

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Effect of water in color changes of historical paintings

Pasquale

Gueli

2021

Color Research & Application

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In conservation and cleaning of historical paintings, the use of water was discouraged because of its effects in terms of swelling and leaching of pictorial materials and of color modification. Nevertheless, water can represent a good substitute of organic solvents and of other tools recently employed for cleaning and restoration. The research article assesses the wetting characteristics and to quantifies the effect of the water absorption on the color changes for historical paintings. For these purposes, different typologies of painting mock‐ups have been prepared in the laboratory to reproduce the main antique pictorial techniques. The results highlighted that the binder played an important function in the wetting properties assessed by contact angle measurement. The water absorption tests underlined that the topography of the painting surface strongly influenced the water absorption. The data have been correlated to colorimetric measurements to quantify the color alteration induced by water. This quantification is important to define the role of water‐based products in cleaning and conservation procedures. The water, in fact, could be a good tool of green chemistry to save the health of the restorer and the environment.

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The role of the polymeric network in the water sensitivity of modern oil paints

Cited by 24 publications

References 33 publications

Conservation Issues of Modern Oil Paintings: A Molecular Model on Paint Curing

Conservation Issues of Modern Oil Paintings: A Molecular Model on Paint Curing

Liquid chromatography and mass spectrometry for the analysis of acylglycerols in art and archeology

Effect of water in color changes of historical paintings

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