Designing Paint Mock-Ups for a Study of Novel Surface Cleaning Techniques for Munch’s Unvarnished Aula Paintings

Stoveland, Lena Porsmo; Ormsby, Bronwyn; Stols-Witlox, Maartje; Fröysaker, Tine; Caruso, Francesco

doi:10.1007/978-3-030-19254-9_41

Cited by 2 publications

(1 citation statement)

References 3 publications

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“…Further complex surface reactions between air pollutants, soiling, and painting materials could be expected29 , 30. Over longer time periods, a soiling layer with ne particles bound with heavy organic compounds could result, such as that which has been observed on the Aula paintings5 , 43 , together with a moisture lm of a thickness depending on the RH. As the soiling layer increased, it would also undergo other physicochemical changes -for example becoming harder due to further oxidation, cross-linking and bonding, cementation, and reaction with surface substrates and so on -that would further deteriorate the artwork's surfaces.…”

Section: Model Limitations and Implications For Soiling On Unvarnishe...mentioning

confidence: 91%

A hypothesis on the initial film formation by deposition from the indoor air on clean filter samples and its relevance for unvarnished oil paintings on canvas

Grøntoft,

Cutajar

2023

Preprint

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In recent years, increased research efforts and environmental improvements have been directed towards the preventive conservation of the monumental, unvarnished oil paintings on canvas (1909–1916) by Edvard Munch (1863–1944) housed in the University of Oslo Aula. Surface soiling of the paintings has been a documented issue since their display, and the modern-day effect of air-borne particulates and gases on the painting surfaces remains hitherto undocumented. For the first time in the Aula, this study has measured the in situ accumulating mass deposition of air pollution onto vertical surfaces over the period of one year (2021–2022). Concomitant measurements of the concentrations of ozone (O3) and nitrogen dioxide (NO2) were also taken, to complement periodic data from 2020. The mass deposition was measured through incremental weight changes of Teflon membrane filters and quartz filters (for elemental/organic carbon, EC/OC), whilst the gaseous pollutants were measured using passive gas samplers. Indoor-to-outdoor ratios (I/O) for O3 were noted to be higher than those suggested by earlier data (whereas NO2 I/O ratios were found to be lower), indicating a stronger oxidising atmosphere in the Aula. Just over half of the deposited mass on the quartz filters was found to be OC, with no EC detected. Surprisingly, an overall decrease in mass deposition from three to twelve months was measured on the Teflon membrane filters. It was hypothesised, based on models reported in the literature, that the source of the OC on the filters was mainly gaseous, semi-volatile organic compounds (SVOCs), which were present in an adsorption/desorption equilibrium that was dependent on possible SVOC emission episodes, relative humidity levels, gaseous oxidative reactions and particulate matter deposition. A simple mathematical model is proposed to rationalise the observed mass depositions on the filters, together with a discussion of uncertainties affecting the measurements. The hypothesis preliminarily indicates the possible and previously unconsidered role of SVOCs on the initial film formation of soiling layers on the Aula paintings, and could bear implications for their monitoring in the preventive care of unvarnished oil paintings on canvas.

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Section: Model Limitations and Implications For Soiling On Unvarnishe...mentioning

confidence: 91%

A hypothesis on the initial film formation by deposition from the indoor air on clean filter samples and its relevance for unvarnished oil paintings on canvas

Grøntoft,

Cutajar

2023

Preprint

View full text Add to dashboard Cite

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Evaluation of novel cleaning systems on mock-ups of unvarnished oil paint and chalk-glue ground within the Munch Aula Paintings Project

et al. 2021

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Low-risk removal of embedded surface soiling on delicate heritage objects can require novel alternatives to traditional cleaning systems. Edvard Munch’s monumental Aula paintings (1911–16) have a long history of exposure to atmospheric pollution and cleaning campaigns that have compromised the appearance and the condition of these important artworks. Soiling removal from porous and water-sensitive, unvarnished oil paintings continues to be a major conservation challenge. This paper presents the approach and results of research into the effect and efficiency of three novel systems used for soiling removal: soft particle blasting, CO2-snow blasting, and Nanorestore Gel® Dry and Peggy series hydrogels. Cleaning tests were performed on accelerated-aged and artificially soiled mock-ups consisting of unvarnished oil paint and chalk-glue grounds. Visual and analytical assessment (magnification using a light microscope and scanning electron microscope, as well as colour- and gloss measurement) was carried out before and after mock-up cleaning tests and the results were compared to those obtained using the dry polyurethane sponges employed in the most recent Aula surface cleaning campaign (2009–11). Although the results varied, the Nanorestore Gel® series proved promising with respect to improved soiling removal efficiency, and reduced pigment loss for the water-sensitive surfaces evaluated, compared to dry sponges.

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Designing Paint Mock-Ups for a Study of Novel Surface Cleaning Techniques for Munch’s Unvarnished Aula Paintings

Cited by 2 publications

References 3 publications

A hypothesis on the initial film formation by deposition from the indoor air on clean filter samples and its relevance for unvarnished oil paintings on canvas

A hypothesis on the initial film formation by deposition from the indoor air on clean filter samples and its relevance for unvarnished oil paintings on canvas

Evaluation of novel cleaning systems on mock-ups of unvarnished oil paint and chalk-glue ground within the Munch Aula Paintings Project

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