Moisture uptake and permeability of canvas paintings and their components

Hendrickx, Roel; Desmarais, Guylaine; Weder, Markus; Ferreira, Ester S.B.; Derome, Dominique

doi:10.1016/j.culher.2015.12.008

Cited by 21 publications

(15 citation statements)

References 18 publications

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“…Painting canvases made from natural fibers (e.g., linen, hemp, cotton or jute), used by artists as painting support, age over time. The ageing occurs due to temperature and humidity variations, and hence the dimensional changes of the painting mounted on a stretcher (Hedley, 1988;Hendrickx, Desmarais, Weder, Ferreira, & Derome, 2016), as well as chemical processes caused by acidity, which originate from primers, paints, glues and absorption of acidic gases from the environment (Ryder, 1986;Oriola et al, 2014). The ageing results in canvas degradation, particularly the reduction of its mechanical properties, which may lead to cracking of the paint layer as well as accidental tears of the canvas, resulting in irreversible damage of the painting.…”

Section: Introductionmentioning

confidence: 99%

On the potential of using nanocellulose for consolidation of painting canvases

Nechyporchuk

Kolman

Bridarolli

et al. 2018

Carbohydrate Polymers

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Nanocellulose has been recently proposed as a novel consolidant for historical papers. Its use for painting canvas consolidation, however, remains unexplored. Here, we show for the first time how different nanocelluloses, namely mechanically isolated cellulose nanofibrils (CNF), carboxymethylated cellulose nanofibrils (CCNF) and cellulose nanocrystals (CNC), act as a bio-based alternative to synthetic resins and other conventional canvas consolidants. Importantly, we demonstrate that compared to some traditional consolidants, all tested nanocelluloses provided reinforcement in the adequate elongation regime. CCNF showed the best consolidation per added weight; however, it had to be handled at very low solids content compared to other nanocelluloses, exposing canvases to larger water volumes. CNC reinforced the least per added weight but could be used in more concentrated suspensions, giving the strongest consolidation after an equivalent number of coatings. CNF performed between CNC and CCNF. All nanocelluloses showed better consolidation than lining with synthetic adhesive (Beva 371) and linen canvas in the elongation region of interest.

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Section: Introductionmentioning

confidence: 99%

On the potential of using nanocellulose for consolidation of painting canvases

Nechyporchuk

Kolman

Bridarolli

et al. 2018

Carbohydrate Polymers

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“…This result can be attributed to the larger glue content in liquid-sized canvas relative to gel-sized canvas: application of the glue as a liquid leads to ~ 4% (relative to the mass of the dry canvas) more glue absorption than application of the glue as a gel. By contrast, a gel size penetrates less into the canvas, and stays close to its surface (Hendrickx, et al, 2016).…”

Section: Moisture Distribution In the Oil Painting Layers And Sized Cmentioning

confidence: 96%

“…Linen canvas type 4 has a different weave: the yarns are spaced from each other, leaving an open, mesh-like structure with 11.5 x 12 yarns/cm; the weight is 160 g/m . The detailed procedures of the preparation and specifications of the materials can be found elsewhere (Hendrickx, et al, 2016); for canvas type 4 and the glue used for its sizing (sample 7, Table 1): see Carlyle, 2013. The attachment of a second canvas to reinforce a weakened original canvas of a painting is known as lining and was common practice until the last quarter of the 20 th century (Hackney, et al, 2012).…”

Section: Production Of Reconstructed Painting and Nmr Samplesmentioning

confidence: 99%

“…For example: in classical vapour diffusion tests, a membrane forms a vapour resistance between a low-RH and a high-RH environment, and the measured permeance is the result of the transport of moisture over the whole thickness of the membrane, plus surface phenomena on both sides. Knowing that the properties of the membrane depend on its moisture content, calculations, extra experiments and some substantiated assumptions are necessary to determine the quantity of moisture the membrane contains at a specific location and time and, from this, its permeability as a function of the moisture content (Hendrickx, et al, 2016). To overcome such difficulties, it can be helpful to use experimental methods that give spatial and temporal information of moisture content simultaneously.…”

Section: Introductionmentioning

confidence: 99%

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Distribution of moisture in reconstructed oil paintings on canvas during absorption and drying: A neutron radiography and NMR study

Hendrickx

Ferreira

Boon

et al. 2016

Studies in Conservation

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Moisture is a driving factor in the long-term mechanical deterioration of canvas paintings, as well as for a number of physico-chemical degradation processes. Since the 1990s a number of publications have addressed the equilibrium hygroscopic uptake and the hygro-mechanical deformation of linen canvas, oil paint, animal glue, and ground paint. In order to visualise and quantify the dynamic behaviour of these materials combined in a painting mock-up or reconstruction, we have performed custom-designed experiments with neutron radiography and nuclear magnetic resonance (NMR) imaging. This paper reports how both techniques were used to obtain spatially and temporally resolved information on moisture content, during alternate exposure to high and low relative humidity, or in contact with liquids of varying water activities. We observed how the canvas, which is the dominant component in terms of volumetric moisture uptake, absorbs and dries rapidly, and, due to its low vapour resistance, allows for vapour transfer towards the ground layer. Moisture desorption was generally found to be faster than absorption. The presence of sizing glue leads to a local increase of moisture content. It was observed that lining a painting with an extra canvas results in a damping effect: i.e. absorption and drying are significantly slowed-down. The results obtained by NMR are complementary to neutron radiography in that they allow accurate monitoring of water ingress in contact with a liquid reservoir. Quantitative results are in good agreement with adsorption isotherms. The findings can be used for risk analysis of paintings exposed to changing micro-climates or subjected to conservation treatments using water. Future studies addressing moisture-driven deformation of paintings can make use of the proposed experimental techniques.

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“…New advances linked to the environmental discussion have recently been made in the investigation of deformation (Groves et al, 2007(Groves et al, , 2008Malowany et al, 2014;Klausmeyer et al, 2016) and moisture sorption (Hendrickx et al, 2016a(Hendrickx et al, , 2016b. Neither sorption nor deformation, however, is the direct course of failure in materials.…”

Section: The Materials Science Approach In Conservationmentioning

confidence: 99%

The Mechanics of Art Materials and Its Future in Heritage Science

Rogala¹,

DePriest²,

Charola³

et al. 2019

Preprint

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<div>In late 2016, “The Mechanics of Art Materials and Its Future in Heritage Science: A Seminar and Symposium” was held at the Smithsonian Institution’s historic Arts and Industries Building. Organized by the Smithsonian’s Museum Conservation Institute (MCI) and the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation, the two-day event brought experts in mechanics research from across the globe to discuss current and future trends in the study and preservation of cultural heritage. Speakers represented a continuum of innovative mechanics research in the cultural heritage sector, from its origins at the Smithsonian to current professionals working to shape the field and train future generations of scholars. The event began with the popular paint mechanics workshop created and taught by MCI senior research scientist emeritus Marion Mecklenburg, condensed into a single-day seminar of lectures and discussion. The second day featured an international group of speakers and case studies on the state of mechanics research around the globe, with an afternoon program focused on emerging U.S.-based speakers and their thoughts on the future of the field. This volume reflects a collaborative view of cultural heritage research in mechanics; beginning with a review of mechanics research at the Smithsonian Institution and followed by the nine papers presented by the symposium speakers, this publication incorporates the work of 15 national and international research centers. The Appendix includes a bibliography of Dr. Mecklenburg’s publications and his previously unpublished 1982 report on the mechanical behavior of painting materials.</div>

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Moisture uptake and permeability of canvas paintings and their components

Cited by 21 publications

References 18 publications

On the potential of using nanocellulose for consolidation of painting canvases

On the potential of using nanocellulose for consolidation of painting canvases

Distribution of moisture in reconstructed oil paintings on canvas during absorption and drying: A neutron radiography and NMR study

The Mechanics of Art Materials and Its Future in Heritage Science

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