Color changes in wall paintings under the influence of consolidation with synthetic polymers

Abstract

The aim of this study is to estimate changes of color of wall paintings under the influence of one of the basic conservation procedures, that is, paint layer consolidation due to degradation of the original binder. Since the 1960s, wall paintings have been consolidated almost routinely with synthetic polymers. As the research on the subject progressed, many flaws of these products were observed. Extensive research was conducted with the aim of determining the actual impact of synthetic binders on paint layer properties. The article discusses the results from only one group of tests associated with color change measurements. Three painting techniques were selected for the study, representing a variety of original techniques common in Poland: lime, lime casein, and animal glue, as well as five commercial synthetic products predominantly employed for painting consolidation by the Polish conservation community.We are focusing on color changes taking place as a result of consolidation and subsequent from the progress of degradation. K E Y W O R D Scolor difference,

An effective polymer nanocomposite based on tetraethoxysilane (TEOS) and SiO2-Al2O3 nanoparticles for super protection of damaged ancient Egyptian wall paintings

“…Again, the lowest value after treatment was registered for areas painted with white gypsum (2.30), while after aging, the lowest value was for red ochre (3.20), giving only a difference percentage of 12%. Noticeably, the alterations in the white models can be easily detected owing to the low values measured for both a* and b* parameters (Bagniuk et al , 2019). As observed in Table 1, the observations on treated black substrate would be useful to discern between the contribution to color change from the substrate and from the protective layer.…”

Spectral Image Processing for Museum Lighting Using CIE LED Illuminants

“…The methods and results presented in this manuscript are not intended for setting a standard in museum lighting. Nevertheless, we feel they can be useful to professionals working in art and cultural-heritage science [8], who usually use point-measurement-based devices such as spectrophotometers [17]. The broad potential of these results opens the possibility of a more thorough study of the colorimetric characteristics of pieces of art under arbitrary illuminants.…”