The stability of paintings and the molecular structure of the oil paint polymeric network

Nardelli, Francesca; Martini, Francesca; Lee, Judith; Lluvears-Tenorio, Anna; Nasa, Jacopo La; Duce, Celia; Ormsby, Bronwyn; Geppi, Marco; Bonaduce, Ilaria

doi:10.1038/s41598-021-93268-8

Cited by 18 publications

(9 citation statements)

References 77 publications

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“…Solvent leachable materials in oil paints include glycerides, free fatty acids, oxidized fatty acids, and the products of their further oxidation such as diacids. Mobility of these components in paint films is dependent upon complex factors including levels of oxidation, hydrolysis, and chelation to pigment metal ions [43,48,51,53,54]. The removal of original materials is always a consideration when a possible treatment is being considered.…”

Section: Discussionmentioning

confidence: 99%

Development of a Thermal Separation Probe Gas Chromatography–Mass Spectrometry Method for Evaluating Wax–Resin Removal by Evolon® CR

Rogge,

Dijkema,

Epley

2024

Applied Sciences

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Historically, many canvas paintings were infused with wax–resin mixtures that have discolored over time, distorting the aesthetics of the work, limiting treatment options, and introducing unstable materials into the object. Removal of the wax–resin is often desirable, but before works of art can be treated, a protocol to evaluate the efficacy of the treatment must be established. A mock-up painting was infused with a known amount of a wax–resin mixture made from beeswax and dammar; this material was then extracted through six intervals of exposure to solvent-loaded and dry sheets of Evolon® CR, a non-woven textile with a high sorbent capacity. Samples from the Evolon® CR sheets from each extraction round were analyzed using thermal separation probe gas chromatography–mass spectrometry (TSP-GC/MS). Normalization of peak areas related to beeswax and dammar to those of Evolon® CR revealed the relative amount of wax and resin removed throughout the extraction. The data show that, under these test conditions, the beeswax and dammar appear to be extracted with the same relative efficiency, information that cannot be provided through UV-induced visible fluorescence imaging of the Evolon® CR sheets or weight data alone, but which is critical to capture as it has implications for treatment success and the long-term stability of an artwork.

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Section: Discussionmentioning

confidence: 99%

Development of a Thermal Separation Probe Gas Chromatography–Mass Spectrometry Method for Evaluating Wax–Resin Removal by Evolon® CR

Rogge,

Dijkema,

Epley

2024

Applied Sciences

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“…Oxidation products are detected, and in particular, oxidised octadecanoic acid is present in the form of oxy-, hydroxy-and epoxycompounds. They are formed during propagation reactions and are produced by the oxidative cleavage of UFAs [42,43]. GC-MS chromatograms displayed in Figure 9 highlight the presence of saturated long-chain fatty acids, the presence of nonanoic (C9), myristic (C14), palmitic (C16) and stearic (C18) and unsaturated long-chain fatty acids such as oleic (C18:1), linoleic (C18:2), and linolenic (C18:3), characteristic of drying oils [16,41].…”

Section: Design Pattern and Print Papersmentioning

confidence: 99%

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

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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.

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“…*Correspondence: lukasz.bratasz@ikifp.edu.pl solid-state Nuclear Magnetic Resonance (NMR) study demonstrated that the cross-linked network constituted about 88% of the cured binder in a paint comprising blue ultramarine and linseed oil [3].…”

Section: Open Accessmentioning

confidence: 99%

“…2 Formerly Senior Research Scientist, the Smithsonian Museum Conservation Institute, Washington, USA. 3 Universitat Politècnica de València, Instituto Universitario de Restauración del Patrimonio, 46022 Valencia, Spain. 4 Institut Charles Sadron, Université de Strasbourg, CNRS-UPR22, 67034 Strasbourg, France.…”

Section: Abbreviationsunclassified

Shrinkage and mechanical properties of drying oil paints

et al. 2022

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Understanding how the evolving molecular composition of an oil paint layer on its transition to an aged solid film affects its dimensional change and mechanical properties is fundamental to the assessment of material durability and more broadly risk of degradation of oil paintings. Tensile properties—modulus of elasticity and strain at break—as well as cumulative shrinkage were determined for a selection of oil paints from Mecklenburg’s Paint Reference Collection now after approximately 30 years of drying. The oil paints were found to get stiffer and more brittle with diminishing plastic deformation and increasingly elastic behaviour. For some paints, the increases in stiffness and decreases in the strain at break were dramatic during the late stage of drying. The observations modify the current physical model of paintings in which the mismatch in the response of glue-based ground layer and unrestrained wood or canvas support to variations in relative humidity (RH) has been identified as the worst-case condition for the fracturing of the entire pictorial layer. This study demonstrated that some paints were more brittle than the glue-based ground layer and as a consequence more vulnerable to cracking. The shrinkage of paints due to molecular relocation and/or evaporation of organic medium as they dry and age was measured. This shrinkage can exceed their strain at break and lead to fracturing of the oil paint layer if it is restrained by a dimensionally stable substrate. Consequently, after long-term drying, the cumulative shrinkage can cause oil paints to crack even in absence of fluctuations in RH or temperature. An example of cracking developed in an oil paint layer on the top of an undamaged ground layer in a historic panel painting was made evident by the X-ray microtomography.

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The stability of paintings and the molecular structure of the oil paint polymeric network

Cited by 18 publications

References 77 publications

Development of a Thermal Separation Probe Gas Chromatography–Mass Spectrometry Method for Evaluating Wax–Resin Removal by Evolon® CR

Development of a Thermal Separation Probe Gas Chromatography–Mass Spectrometry Method for Evaluating Wax–Resin Removal by Evolon® CR

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

Shrinkage and mechanical properties of drying oil paints

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