Chemo-mechanical model for degradation of oil paintings by amorphous and crystalline metal soaps

Eumelen, G.J.A.M.; Bosco, E.; Suiker, A.S.J.; Hermans, Jan

doi:10.1016/j.euromechsol.2022.104827

Cited by 6 publications

(1 citation statement)

References 64 publications

(130 reference statements)

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The ratios for the paint layer of 234D are very different from the others, with an A/P < 1, probably influenced by the oxidation products of the pigment and by the pre-polymerisation of the oil. Previous investigations suggested that zinc stearate is present in 234D, and this is confirmed by the high amount of oleic acid (14.53%), as zinc tends to form a packed structure that can trap oleic acid, thus forming zinc soap [46,47].…”

Section: Design Pattern and Print Papersmentioning

confidence: 74%

Unveiling Polychrome Printing Methods on Textiles: Preliminary Results from the Mariano Fortuny y Madrazo Collection in Venice

Farinelli,

Falchi,

da Roit

et al. 2024

Heritage

View full text Add to dashboard Cite

At the beginning of the 20th century, the eclectic artist Mariano Fortuny y Madrazo patented two innovative methods for polychrome printing on fabrics and textiles, giving life to Fortuny fabric production in Venice. The first patent was related to colour application, while the second to a special machine that allows continuous printing using cylindrical rollers. Despite the descriptions, the methodology and materials used remain a secret. In collaboration with the Fortuny Museum in Venice, this research aimed at studying and identifying the different steps of Fortuny printing methodologies. Printing matrices, fabrics and raw materials found in the artist’s studio were analysed in a multi-analytical campaign through digital microscopy, X-ray fluorescence (XRF), Fourier-transform infrared spectroscopy in attenuated total reflectance (FTIR-ATR), μ-Raman spectroscopy and gas chromatography–mass spectrometry (GC–MS). Three main pigments were identified in paper samples: ivory black, a copper-based pigment, and a carbon black pigment with ultramarine for blues. The pigments were bound with linseed oil and colophony in varying proportions. Polychrome silk fabrics were dyed with a base colour, and then the coloured patterns were superimposed by continuous printing. Prussian blue was identified as one of the textile inks. Results provided a better understanding of printing methodology.

show abstract

Section: Design Pattern and Print Papersmentioning

confidence: 74%