The Treatment of Oil Paintings on Paper Supports Considerations on the Treatment Applications Used from the Past until the Present

Oil Media on Paper: Investigating the Effect of Linseed Oils on Pure Cellulosic Paper Supports. A Research Matter of Damage Assessment

“…Problems occur only when oil binders contained in oil colours and traditional oil-based printing inks are absorbed and, occasionally, diffused into the paper support [1][2][3]. Discolouration, decrease in pH value, loss of mechanical strength and embrittlement, and cracks and losses have been recorded on the oiled areas of the paper support with respect to works belonging to art collections worldwide [1][2][3][4][5][6]. It is worth mentioning that the problems of damage turn out irregularly and their extent varies from local and limited to overall and depend on several parameters, such as the materials and techniques used for the creation of the works.…”

Tricks and Technique With Oops (Oil on Paper School)

“…The paper is completely soaked in oil as seen in its back view and there is some shedding of paint and losses on the break lines. Adopted from Banou et al, (2015) The risks of above-mentioned problems highly concern the conservators when they need to deal with the severe discoloration, absorption of oil and embrittlement caused to the paper support. This leads to the impression of local failure and crumbling; giving an idea that the support cannot hold the weight of the work (Engram 1991).…”

“…Later they also used gesso for the ground layer on paper and then a layer of animal glue, to create a smooth, or sometimes coloured background for the succeeding painting. A final layer of varnish was coated on top of the painting for its protection (Banou et al, 2015).…”

“…These properties are subjective to change based on abiotic factors such as temperature, humidity and other environmental stress (Phenix 1995). In addition to this, the adhesion of the ground and the paint layer may diminish significantly resulting in mechanical damage to the paper (Banou, 2015).…”

“…On the Verso, the paint covers the entire paper board, and on the Recto, discoloration due to absorption of oil binder is evident. Adopted fromBanou et al, (2015)…”