Issues in Contemporary Oil Paint (eBook)

Klaas Jan van den Berg Institute for Cultural Heritage, Netherlands (and Institute of the Dutch Ministry of Education, Culture and Science).

Foreword 6
Preface 8
Research and Conservation 9
Developments in Paint Technology 9
Artists' Ideas and Working Methods: Archival Sources 10
Case Studies of Paintings: Esthetics and Conservation Issues 10
Paint Degradation and Analysis 11
New Conservation Approaches 12
Contents 14
Twentieth Century Oil Paint. The Interface Between Science and Conservation and the Challenges for Modern Oil Paint Research 17
Introduction 17
Fundamental Research to Inform Conservation 19
Classes of Surface Deterioration 20
Optical Whitening of the Paint Surface: Efflorescence, Salts, Metal Soap Crusts 20
The Oil Paint Model 21
Water Sensitivity of Modern Oil Paints 24
Designing Treatments 29
Practical and Ethical Considerations 30
Conclusion 31
References 33
Do We See What We Know or Do We Know What We See? Conservation of Oil Paintings in the Stedelijk Museum Amsterdam 36
Introduction 36
History 37
Water Sensitivity 40
Technique or Paint Quality? 45
Conclusion 46
References 46
Towards Interpretation of Making, Meaning, and Change in British Twentieth Century Oil Paintings: The Relevance of an Artist's Paint Archive 48
Introduction 48
The Artist and St Ives, Cornwall 50
No. 5 Porthmeor Studios 50
Recording the Artist's Materials 51
Paint Swatches 51
Paint 53
Date of Manufacture vs. Date of Execution 55
Significance 56
Conclusion 57
References 58
The Delight of Modern Organic Pigment Creations 59
Introduction 59
Modern Synthetic Organic Pigments Before 1950 60
?-Naphthol Pigment Lakes 60
BON Pigment Lakes 61
?-Naphthols 61
Pyrazolones 61
Hansa Yellows 63
Diarylides 63
Naphthol Reds 65
Pigment Green B 67
Phthalocyanines 67
Nickel Azo Yellow 69
Modern Synthetic Organic Pigments After 1950 69
Perinones 71
Perylenes 71
Dioxazine Purple 71
Quinacridones 71
Isoindolinones 72
Benzimidazolones 72
Diketopyrrolo-Pyrroles (DPPs) 74
Appendix 75
References 87
Modern Oil Paints – Formulations, Organic Additives and Degradation: Some Case Studies 88
Introduction 89
Experimental 90
Analysed Paints 90
Artists' Oil Paints 90
Case Studies 104
Instrumental Details and Experimental 104
Optical and Electronic Microscopy 104
X-Ray Fluorescence Spectroscopy 104
Fourier-Transform Infrared Spectrometry 104
Gas Chromatography-Mass Spectrometry 104
Results and Discussion 106
Artists' Oil Paints 106
Drying Oils 106
Organic Additives 107
Aged Tube Paints 108
Pigments, Fillers and Extenders 109
Zinc Oxide and Oleic Acid 110
Case Studies 110
Emma Ciardi, Ritorno del Colleoni, 1919 110
Karel Appel, La Grande Fleur de la Nuit, 1954 112
Lucio Fontana, Concetto spaziale, 1960 113
Willem de Kooning, Rosy-Fingered Dawn at Louse Point, 1963 113
Conclusions 114
References 115
Distinction by Micro-Raman Spectroscopy and Chemometrical Analysis of Copper Phthalocyanine Blue Polymorphs in Oil-Based and Acrylic Paint Samples 118
Introduction 119
Case Studies 120
Paints from Sam Francis' Studio 120
Paints from the GCI Reference Collection 122
Experimental 122
Results and Discussion 123
Paints from Sam Francis' Studio 123
Paints from the GCI Reference Collection 125
Oil-Based Paints 125
Acrylic Paints 127
Conclusions 127
References 128
Charting the Development of Oil-Based Enamel Paints Through the Correlation of Historical Paint Technology Manuals with Scientific Analysis 130
Introduction 130
Oil-Based Enamel Paint Formulations 131
Pigments, Extenders, and Driers 131
Binders and Resins 135
Conclusions 136
References 137
Hans Hofmann's Last Lesson: A Study of the Artist's Materials in the Last Decade of His Career 139
Introduction 139
Study Group Selection 141
Analysis of Materials 143
Discussion of Analyses 154
Conclusion 156
Appendix: Experimental Conditions 157
References 159
Théorème de Gödel by Georges Mathieu, 1957. Study and Restoration: Consolidation Through Cohesive Regeneration Using a Solvent 161
Artwork Description: Action Painting and Impastos 161
Condition Report and Study of the Alterations: Still Drying and Tacky 55 Years After Creation 162
Diagnosis: An Ongoing Deterioration Revealing a Very Fragile Artwork 164
Origins of Deteriorations 164
Restoration Aims Following an Axiological Reflection 166
Developing an Appropriate Consolidating Method 167
Treatment: Putting the Preliminary Findings into Practice 168
Reintegration Procedure 168
Conclusions 169
References 169
Non-traditionally Painted Oil Painting: How to Treat It Properly? Josip Vaništa's Cakes (1955) 170
Introduction 171
Treatment 173
Conclusion 175
Appendix: List of Used Materials 177
References 177
Conservation Issues in Several Twentieth-Century Canadian Oil Paintings: The Role of Zinc Carboxylate Reaction Products 178
Introduction 178
Methods of Analysis 180
Results and Discussion 180
Delamination and Lifting Paint 180
Zinc Soap Protrusions 182
Description of the Paintings and Protrusions 182
SEM-EDX 182
GCMS 183
FTIR 185
Zinc Lactate in a Surface Accretion 190
Description of the Painting and Surface Accretion 190
SEM-EDX 190
GCMS 190
FTIR 191
Conclusions 192
Appendix 193
References 194
Zwei Jünglinge und Zwei Mädchen, A Tempera Painting by Otto Mueller Circa 1917. Paint Analysis and Reconstruction 196
Mueller's Matte Paint 197
Binding Medium Analysis 199
Results 200
Discussion 200
Grounds 201
Upper Paint Layers 202
Reconstruction 204
Conclusion 205
References 205
Metal Soaps and Visual Changes in a Painting by René Magritte – The Menaced Assassin, 1927 207
Introduction 208
Examination 209
Analysis 210
Characterisation of the Deposits and Pustules Material 211
Summary 212
References 213
Fleurs Grises – A Delicate Surface. Difficult to Clean – Essential to Protect 214
Introduction 214
Artist and Painting 215
Treatment 216
Preventive Conservation 220
Conclusion 220
References 221
Derivatisation Technique for Infrared Spectroscopy – Characterisation of Oxidative Ageing Products in Modern Oil Paint 222
Introduction 223
Derivatisation with Sulfur Tetrafluoride SF4 223
Application of the Derivatisation Technique 224
Experimental 226
Results and Discussion 227
Conclusion 232
References 233
Investigating Fluidizing Dripping Pink Commercial Paint on Van Hemert's Seven-Series Works from 1990 –1995 235
Introduction 236
Painting with Pink Paint Drips from the Seven Series 237
Cross Sectional Analysis of the Pink Paint 239
Identification of the Organic Constituents by Mass Spectrometry 242
Discussion 246
Appendix 251
Experimental Details 251
Microscopy 251
Mass Spectrometry 251
References 252
Hard Dry Paint, Softening Tacky Paint, and Exuding Drips on Composition (1952) by Jean-Paul Riopelle 255
Introduction 256
Investigation of the Painting and Sampling 258
Analysis by SEM EDX 260
Medium Analysis of the Composition 1952 Paints 261
Comparing Riopelle's Composition (1956) and Peinture (1954) by Soulages to Composition (1952) 264
Discussion 265
Experimental Details 268
References 268
Zinc White and the Influence of Paint Composition for Stability in Oil Based Media 271
Introduction 271
Experimental 273
Reference Paints 273
Model System 273
Results and Discussion 276
Reference Paint Films 276
General Observations 276
Naples Yellow Hue: Linseed and Safflower Oil Based Paints 279
Soybean Oil Paints 283
Solvent Model 286
Conclusion 288
References 288
Its Surreal: Zinc-Oxide Degradation and Misperceptions in Salvador Dalí's Couple with Clouds in Their Heads, 1936 290
Introduction 291
Painting Technique 292
Conservation History 293
Experimental 293
Results 294
Comparison of Intact and Degraded Paint in Female's Shoulder 294
Degraded Paint in Male Figure 294
Discussion 297
Zinc-Containing Degradation Products 297
Ring Formation 298
Related Paintings by Dalí 298
Conclusion 299
Appendix 299
Light Microscope 299
Attenuated Total Reflection – Fourier Transform Infrared (ATR-FTIR) Imaging Microscope 299
Scanning Electron Microscopy – Energy Dispersive X-Ray Spectroscopy (SEM-EDX) 300
X-Ray Diffraction (XRD) 300
References 300
Water Sensitive Oil Paints in the Twentieth Century: A Study of the Distribution of Water-Soluble Degradation Products in Modern Oil Paint Films 302
Introduction 303
Winsor & Newton Paint Swatches
Identifying Magnesium Sulphate Heptahydrate 306
Experimental 307
Scanning Electron Microscopy 307
X-ray Diffraction 308
Water Immersion Tests 308
Results and Discussion 308
Magnesium Sulphate Heptahydrate Locations 308
Water Immersion Tests 310
Case Studies from Tate's Collection 312
Francis Bacon Figure in a Landscape 312
Patrick Heron The Long Table with Fruit 313
Conclusion 315
References 316
An Investigation into the Viability of Removal of Lead Soap Efflorescence from Contemporary Oil Paintings 318
Introduction 319
The Problem of Lead Soap Efflorescence 319
Hypotheses for the Formation of Lead Soap Efflorescence 320
Efflorescence in Nineteenth- and Twentieth-Century Paintings 321
Treatment of Lead Soap Efflorescence 322
Analytical Materials and Methods 323
Testing Materials and Approaches 323
Analytical Techniques 325
Test Results 326
Concentration 326
pH 326
Application Method 327
Practical Application 327
Case Study 1: Portrait of Pieter Jacob Teding van Berkhout 327
Background 327
Testing 329
Case Study 2: Return from the Front 331
Background 331
Testing 333
Post Treatment Recurrence of Lead Soap Efflorescence 335
Conclusion 336
References 338
Set Back the Race: Treatment Strategies for Running Oil Paint 340
Introduction 341
Background and Current State of Research 342
Linseed, Poppy-Seed, Sunflower and Safflower Oil 342
Past Treatment of Affected Paintings 343
Objective 343
Experimental 343
Samples, Methodology and Analytical Instrumentation 343
Results 346
Thermogravimetric Analysis and Gravimetry 348
SEM – BSE Analysis 348
FTIR Analysis 349
ESI–MS Analysis 349
GC–MS Analysis 350
Discussion 351
Conclusions and Perspectives 353
Appendix 354
References 355
Sensitivity of Modern Oil Paints to Solvents. Effects on Synthetic Organic Pigments 357
Introduction 358
Solvent Sensitivity of Organic Pigments and Their Modifications 358
Analysis 359
Results and Discussion 360
The Solubility of Synthetic Organic Pigments 360
The Influence of Solubility on the Oil Paint Film 362
Solvent Sensitivity of Paint Layers Containing Synthetic Organic Pigments 364
Conclusions 366
References 366
Dry Cleaning: Research and Practice 369
Introduction 369
Research into Long-Term Effects of Dry Cleaning 371
Results of Long-Term Effects of Extractables 371
The Follow-Up Project in Practice 372
Review of the RCE 2006–2009 Project Conclusion 372
Additional Guidelines for the Application Method 373
Additional Tests and Results 374
Vinyl-Based Gum Powder 374
Micropore Sponges 374
Non-contact Hand Roll 375
Discussion and Conclusion 376
References 377
New Approaches to Surface Cleaning of Unvarnished Contemporary Oil Paintings – Moist Sponges and Cloths 379
Introduction 379
Materials Used in This Study 380
Cleaning Materials 380
Paint Surfaces 384
Analytical Instruments 385
Cleaning Tests 386
Evaluation Parameters 386
Results & Discussion
Solvent Extractable Components 387
Observation and Characterisation of the Artificial and Cellar Dirt 387
Pilot Tests 387
Cleaning Tests 388
Conclusions 392
References 393
Agar – A New Tool for the Surface Cleaning of Water Sensitive Oil Paint? 395
Introduction 395
Current State of Research 396
Epsomite – A Source for Water Sensitivity 396
Surface Cleaning with Agar Gels 397
Experimental Setup 399
Experimental Paint Samples 399
Testing Procedure 400
Aqueous Swab Rolling 400
Agar Gel Cleaning 400
Evaluation of the Cleaning Tests 401
Results and Discussion 401
Aqueous Swab Rolling 401
Agar Gel Cleaning 402
Preliminary Agar Gel Application Tests 402
Agar Gel Cleaning Tests 404
Considerations Regarding the Use of Artificial Test Paints 408
Conclusion 409
Appendix 410
Technical Details 410
SEM 410
Digital 3D-Microscopy 410
Optical Microscopy of Thin Cross Sections 410
Materials and Distributors 411
References 411
Investigation into the Surface Conductivity of Water-Sensitive Modern Oil Paints 413
Introduction 413
Definition of Conductivity and Its Application to Paintings 414
Swelling of Paint Films 415
Test Samples and Painting 415
Results 418
Case Study: A Water-Sensitive Painting 419
Observations and Conclusions 421
References 422
Index 424