Physiology of biodeterioration on canvas paintings

Abstract

The study of the physiological action of microorganisms in artistic materials is one of the most interesting topics in biodeterioration nowadays. Pathologies and illnesses of organic and inorganic materials provoked by microorganisms can be treated by experts by a variety of preventive interventions. Artistic medicine encompasses the monitoring of the exhibition and storage of art, as well as proper environmental conditions and the regular cleaning of museums. Biodeterioration control is essential in order to prevent fungal and bacterial contamination in artwork. Biodeterioration of canvas paintings is a complex phenomenon, not well-known at the moment. Canvas paintings are created by several artistic techniques on textile supports that are not always kept in the best conditions, and the best parameters of preventive conservation are often not applied. Therefore, we need to research the agents and the main causes that provoke canvas painting biodeterioration. By applying new methodologies, we can identify the alterations and the treatments needed in order to manage the diverse materials employed in artwork correctly. Herein, we review the causes of biodeterioration that affect artwork, especially art created on textile supports. We also study the alterations of the natural filmogenic materials employed in traditional pictorial techniques, such as agglutinants and protection layers, and the biodeterioration agents that impact them. Additionally, we review current scientific methods employed for the identification of microbial species, and the types of alterations of the materials where the organisms grow. Finally, we summarize the different biocides and preventive conservation treatments that are currently employed.

Detection of potential biodeterioration risks for tempera painting in 16th century exhibits from State Tretyakov Gallery

“…The primary factors in the biodeterioration of objects belonging to cultural heritage are environmental conditions and chemical composition [5]. From the 18 th century, it has been well known that paintings exposed to high humidity may be colonized by mold [6]. Ancient Russian tempera paintings (ARTPs), including its most valuable specimens-icons (easel tempera painting) and tempera-painted statues, contain a number of organic and inorganic components which can be used by microorganisms for growth.…”

“…In this regard, special attention is paid to the detection of fungal infection. Sensitive diagnostics would promote the development of effective preventive antiseptic materials that would suppress microbial growth with a minimal destructive effect on the art object [1,5,6]. Traditional antiseptics used in tempera paintings have limitations [6] and there is an urgent need to develop novel modern antiseptics with broad-spectrum antimicrobial activity and high efficacy, which at the same time would be safe for paintings and museum staff.…”

Fungal Deterioration of Cultural Heritage Objects

“…Canvas was shown to be one of the most susceptible painting materials (only surpassed by linseed oil), with the susceptibility depending on the percentage content of cellulose, lignin, and other organic components [74,77]. The higher the percentage of cellulose and lignin, the more resistant it will be to fungal attack [78]. Due to their ability to produce cellulolytic enzymes responsible for cellulose fibers dissolution, fungi of the genus Alternaria, Aspergillus, Cladosporium and Ulocladium are considered to be the main agents of canvas deterioration [63, 69,76].…”

Anti-Mold Effectiveness of a Green Emulsion Based on Citrus aurantium Hydrolate and Cinnamomum zeylanicum Essential Oil for the Modern Paintings Restoration

“…Therefore, one of the main challenges in managing biodeterioration is the control of microbial growth to avoid the complete destruction of the canvas painting. The decontamination of these works requires the use of chemicals with a high toxic potential for both humans and the environment, besides high costs for museums [2,3].…”