diff --git a/content/1-history/1.md b/content/1-history/1.md index e6207a5..c5339e9 100644 --- a/content/1-history/1.md +++ b/content/1-history/1.md @@ -1,7 +1,7 @@ --- label: "1" title: "Understanding Structure, Changing Practice" -short_title: "Understanding Structure, Changing Practice" +short_title: layout: essay order: 10 contributor: @@ -23,7 +23,7 @@ Structural conservation of a canvas painting can be a more profound intervention Fifty years ago, a traditional lining method was considered a normal component of any conservation treatment. The lining used was defined by the choice of adhesive, and these materials had a surprisingly wide range of properties, from water based to water repellent. The goal of lining was to turn a fragile canvas painting into one that was much more resilient, but the means and the outcome were not well defined. The dangers in lining were recognized, however, and it was normally carried out by skilled and experienced professionals. But attempts were also made to automate and deskill the process by using hot tables and vacuum pressure. -For the student, there was little published information except for some early discussions on reservations about glue lining, the justification for introducing wax-resin adhesives, and designs for hot tables ({% cite 'Ruhemann 1953' %}; {% cite 'Ruhemann 1953' %}). From this background, W. Percival-Prescott conceived the Conference on Comparative Lining Techniques, held in Greenwich (London) in 1974. This ambitious project brought together experts from various backgrounds, but it succeeded in uncovering much confusion of purpose and also a genuine desire to improve the situation ({% cite 'Ruhemann 1953' %}). Traditional methods were described by practitioners, and several research projects investigating alternative adhesives and lining methods were presented. A wide variety of conservation aims emerged, from restoring the original appearance of a painting to accepting its existing condition ({% cite 'Ruhemann 1953' %}). For the first time, the advantages and disadvantages of all materials and methods were openly debated, including wax lining methods ({% cite 'Ruhemann 1953' %}; {% cite 'Ruhemann 1953' %}). +For the student, there was little published information except for some early discussions on reservations about glue lining, the justification for introducing wax-resin adhesives, and designs for hot tables ({% cite 'Ruhemann 1953' %}; {% cite 'Straub and Rees-Jones 1955' %}). From this background, W. Percival-Prescott conceived the Conference on Comparative Lining Techniques, held in Greenwich (London) in 1974. This ambitious project brought together experts from various backgrounds, but it succeeded in uncovering much confusion of purpose and also a genuine desire to improve the situation ({% cite 'Percival-Prescott 2003b' %}). Traditional methods were described by practitioners, and several research projects investigating alternative adhesives and lining methods were presented. A wide variety of conservation aims emerged, from restoring the original appearance of a painting to accepting its existing condition ({% cite 'Mehra 2003' %}). For the first time, the advantages and disadvantages of all materials and methods were openly debated, including wax lining methods ({% cite 'Berger and Zeliger 2003' %}; {% cite 'Cummings and Hedley 2003' %}). During a period when lining was widely, uncritically accepted, most practitioners had a limited range of experience and had honed their skills in a narrow lining specialty based on one specific adhesive. The establishment of conservation training courses with academic aspirations has now largely replaced the former apprenticeship training, which passed on the strengths and skills of existing practices but had no mechanism to compare or improve on them. Formal training has provided impetus for conservation science, and the study of conservation methods has influenced the materials and practice of conservators, and even some artists. @@ -33,19 +33,19 @@ After Greenwich, it was clear that an understanding of the structure and mechani {% figure 'fig-1-1' %} -The response of paintings to moisture had been a particular concern since the nineteenth century. Mecklenburg’s plot of tension against RH for all the materials on a stretched and primed canvas was a major advance ({% cite 'Ruhemann 1953' %}; {% cite 'Ruhemann 1953' %}). Gerry Hedley explained the mechanism of canvas shrinking when exposed to water or RH approaching 100%. He also saw the effect of initial weave crimp transfer from warp to weft ({% cite 'Ruhemann 1953' %}; {% cite 'Ruhemann 1953' %}). The differing influence of pigments on the drying (curing) of linseed oil explained why the application of moisture and pressure is not enough to flatten most mature lead white paints. Temperature response of paintings was also investigated ({% cite 'Ruhemann 1953' %}). Cracking of otherwise flexible acrylic paintings at extremely low temperatures was at first surprising. The concept of glass transition temperature (Tg) clarified why familiar flexible materials became brittle at these low temperatures. +The response of paintings to moisture had been a particular concern since the nineteenth century. Mecklenburg’s plot of tension against RH for all the materials on a stretched and primed canvas was a major advance ({% cite 'Mecklenburg 1982' %}; {% cite 'Mecklenburg and Tumosa 1991a' %}). Gerry Hedley explained the mechanism of canvas shrinking when exposed to water or RH approaching 100%. He also saw the effect of initial weave crimp transfer from warp to weft ({% cite 'Hedley 1993' %}; {% cite 'Hedley and Odlyha 1993' %}). The differing influence of pigments on the drying (curing) of linseed oil explained why the application of moisture and pressure is not enough to flatten most mature lead white paints. Temperature response of paintings was also investigated ({% cite 'Michalski 1991' %}). Cracking of otherwise flexible acrylic paintings at extremely low temperatures was at first surprising. The concept of glass transition temperature (Tg) clarified why familiar flexible materials became brittle at these low temperatures. Long-term mechanical behavior, such as relaxation and creep, have also been measured, providing useful predictions of future behavior. It took sixteen years to collect the data shown in ([fig. 1.2](#fig-1-2)) at the Canadian Conservation Institute, which shows the relaxation (loss of tension) of stretched canvas paintings and linings over that period of time, plotted on a logarithmic time axis. Such data is critical when deciding on the best choice of adhesive and lining material. {% figure 'fig-1-2' %} -The use of biaxial stretching, first proposed by Berger ({% cite 'Berger and Russell 2000' %}), and electronic speckle pattern interferometry (ESPI) for strain measurement ([fig. 1.3](#fig-1-3)) enabled Young and Hibberd to look in further detail at conservation issues and lining practice, such as the strain associated with stretcher attachments ({% cite 'Ruhemann 1953' %}; {% cite 'Ruhemann 1953' %}). The complex structure of stretched canvas is now understood in sufficient detail to consider computer modeling of the mechanical properties of both paintings and linings. It also offers the opportunity to study in more detail the effects of minimal treatments on more contemporary paintings ({% cite 'Ruhemann 1953' %}; {% cite 'Ruhemann 1953' %}). Temporary solutions and physical protection may prove to be our best options, but many have not yet been fully assessed objectively. +The use of biaxial stretching, first proposed by Berger ({% cite 'Berger and Russell 2000' %}), and electronic speckle pattern interferometry (ESPI) for strain measurement ([fig. 1.3](#fig-1-3)) enabled Young and Hibberd to look in further detail at conservation issues and lining practice, such as the strain associated with stretcher attachments ({% cite 'Young and Hibberd 1999' %}; {% cite 'Young and Hibberd 2000' %}). The complex structure of stretched canvas is now understood in sufficient detail to consider computer modeling of the mechanical properties of both paintings and linings. It also offers the opportunity to study in more detail the effects of minimal treatments on more contemporary paintings ({% cite 'Hagan et al. 2007' %}; {% cite 'Hagan et al. 2011' %}). Temporary solutions and physical protection may prove to be our best options, but many have not yet been fully assessed objectively. {% figure 'fig-1-3' %} ## Conservation Practice -Transferring research results into conservation practice on historic objects involves special problems. Understanding materials in a pristine state is not enough to predict the behavior of deteriorated old paintings ({% cite 'Ruhemann 1953' %}; {% cite 'Ruhemann 1953' %}; {% cite 'Ruhemann 1953' %}; {% cite 'Ruhemann 1953' %}; {% cite 'Ruhemann 1953' %}). Since an assessment of physical condition and appropriate treatment requires such knowledge, measuring slow processes, such as “natural” aging, is increasingly necessary in order to make reliable long-term decisions. +Transferring research results into conservation practice on historic objects involves special problems. Understanding materials in a pristine state is not enough to predict the behavior of deteriorated old paintings ({% cite 'Ackroyd 2002' %}; {% cite 'Hackney 2004b' %}; {% cite 'Phenix 1995' %}; {% cite 'Reeve 1984' %}; {% cite 'Scharff 2012' %}). Since an assessment of physical condition and appropriate treatment requires such knowledge, measuring slow processes, such as “natural” aging, is increasingly necessary in order to make reliable long-term decisions. Progress in devising and applying new conservation treatments is made difficult because at some stage practical experience can be gained only by working directly on unique and valuable original aged material ([fig. 1.4](#fig-1-4)). It might be argued that this amounts to carrying out scientific experiments lacking a control. As a consequence, we can choose our treatment method but cannot be sure it was the best of several possible options. @@ -53,9 +53,9 @@ Progress in devising and applying new conservation treatments is made difficult In the UK, original nineteenth-century loose linings have provided a limited source of acceptable experimental material, but such material has still not been replicated reliably in all its aspects by artificial aging methods. -For the conservator concerned with historic paintings, it is important to be aware of artists’ changing methods, materials, and intentions. There is much detail, accumulated from the examination of examples of painting practice, to inform the conservator of the likely behavior of a specific painting to be treated. For the period from the latter part of the nineteenth century until the present, artists were less bound by academy controls; their aims became more adventurous, and their materials and methods expanded. As paintings from this period increasingly demand attention and treatment, the conservator is presented with a variety of interesting new problems and conflicts, many of which have already contributed to modified conservation practice for works on canvas, currently leading to a more preventive approach. The demands of much recently created art provide a challenge that requires radical solutions, and they are pointing to new directions in conservation of both contemporary and traditional art ({% cite 'Ruhemann 1953' %}). +For the conservator concerned with historic paintings, it is important to be aware of artists’ changing methods, materials, and intentions. There is much detail, accumulated from the examination of examples of painting practice, to inform the conservator of the likely behavior of a specific painting to be treated. For the period from the latter part of the nineteenth century until the present, artists were less bound by academy controls; their aims became more adventurous, and their materials and methods expanded. As paintings from this period increasingly demand attention and treatment, the conservator is presented with a variety of interesting new problems and conflicts, many of which have already contributed to modified conservation practice for works on canvas, currently leading to a more preventive approach. The demands of much recently created art provide a challenge that requires radical solutions, and they are pointing to new directions in conservation of both contemporary and traditional art ({% cite 'Heiber 2003' %}). -Some developments of lining processes using new materials, such as sailcloth fabric ({% cite 'Ruhemann 1953' %}) and Beva 371 adhesive ({% cite 'Ruhemann 1953' %}), have so far survived the test of time. Exploring the properties and stability of possible alternative conservation structural materials is a major undertaking, made more difficult by the risk that material manufacturers may discontinue their supply. Economics also conspire to deter time-consuming structural treatments. As a consequence, for many contemporary paintings, restoration often challenges existing experience and costs much more than preventing damage ([fig. 1.5](#fig-1-5)). +Some developments of lining processes using new materials, such as sailcloth fabric ({% cite 'Hedley and Villers 1982' %}) and Beva 371 adhesive ({% cite 'Berger 1975' %}), have so far survived the test of time. Exploring the properties and stability of possible alternative conservation structural materials is a major undertaking, made more difficult by the risk that material manufacturers may discontinue their supply. Economics also conspire to deter time-consuming structural treatments. As a consequence, for many contemporary paintings, restoration often challenges existing experience and costs much more than preventing damage ([fig. 1.5](#fig-1-5)). {% figure 'fig-1-5' %} @@ -65,7 +65,7 @@ Given the many unavoidable problems encountered in conservation treatments, prot Improvements in the environment of modern museums (controlled and filtered air conditioning, UV filtration); careful handling and operating procedures; and protection during transport and handling have all contributed to more reliable conditions. Defining exact relative humidity/temperature (RH/T) conditions is virtually impossible, but the absence of identifiable damage that can be directly attributed to current museum conditions is a positive indicator. However, more recently, an open-ended commitment to long-term protection by air-conditioning has been challenged as expensive and unsustainable in energy terms. -In the past, the risks of travel were unpredictable and thought to be large. Conservators were therefore obliged to reinforce a painting’s structure to the best of their powers. With increasing loan and exhibition programs and major blockbuster exhibitions, this has become an international problem. The transport environment has now been examined in terms of shock, vibration, moisture content, and temperature along with their consequences for paintings in transit. Criteria for behavior and designs for packing cases to minimize exposure to risks have become established. An interesting observation from the Art in Transit research group was that, by using reliable methods and tight procedures, transport risks could be reduced below those of handling within a museum ({% cite 'Ruhemann 1953' %}). +In the past, the risks of travel were unpredictable and thought to be large. Conservators were therefore obliged to reinforce a painting’s structure to the best of their powers. With increasing loan and exhibition programs and major blockbuster exhibitions, this has become an international problem. The transport environment has now been examined in terms of shock, vibration, moisture content, and temperature along with their consequences for paintings in transit. Criteria for behavior and designs for packing cases to minimize exposure to risks have become established. An interesting observation from the Art in Transit research group was that, by using reliable methods and tight procedures, transport risks could be reduced below those of handling within a museum ({% cite 'Mecklenburg 1991' %}). By introducing consistent procedures for the physical protection of works of art, it is easier to avoid much accidental damage and unnecessary early deterioration. Successful collections care procedures have together made the idea that lining is a requirement much less persuasive and forced us to be more precise about its purpose. @@ -79,17 +79,17 @@ For the period between 1900 and 1960, air pollution was at its worst in many cou {% figure 'fig-1-6' %} -Efflorescence can occur on the surface of oil paintings, especially unvarnished ones, and sometimes, on glazed works, it is transferred onto the glass. This deposit has been analyzed as fatty acids ({% cite 'Ruhemann 1953' %}), and these fatty acids must have been released from the oil paint. The hydrolysis of oils is well known, and migration of its reaction products within dried oil paint films explains efflorescence. +Efflorescence can occur on the surface of oil paintings, especially unvarnished ones, and sometimes, on glazed works, it is transferred onto the glass. This deposit has been analyzed as fatty acids ({% cite 'Williams 1989' %}), and these fatty acids must have been released from the oil paint. The hydrolysis of oils is well known, and migration of its reaction products within dried oil paint films explains efflorescence. -There has been a major advance in understanding the degradation of oil paint and how it changes the paint’s optical performance and our perception of a painted image ({% cite 'Ruhemann 1953' %}; {% cite 'Ruhemann 1953' %}). We are all familiar with the increase in transparency of oil paintings and grounds. The impregnation and lining of paintings with thin grounds can cause increases in transparency, especially when wax resin has been used ({% cite 'Ruhemann 1953' %}). We now know that old paint films form an ionomeric structure that continues to deteriorate by hydrolysis and oxidation. Saponification reactions of free acids with alkaline or basic metals present in finer pigments, such as calcium, magnesium, lead, and zinc, can dissolve pigments into the paint. Removal of these light-dispersing pigments causes the paint to increase in transparency. +There has been a major advance in understanding the degradation of oil paint and how it changes the paint’s optical performance and our perception of a painted image ({% cite 'Boon, Van der Weerd, and Keune 2002' %}; {% cite 'Keune 2005' %}). We are all familiar with the increase in transparency of oil paintings and grounds. The impregnation and lining of paintings with thin grounds can cause increases in transparency, especially when wax resin has been used ({% cite 'Bomford and Staniforth 1981' %}). We now know that old paint films form an ionomeric structure that continues to deteriorate by hydrolysis and oxidation. Saponification reactions of free acids with alkaline or basic metals present in finer pigments, such as calcium, magnesium, lead, and zinc, can dissolve pigments into the paint. Removal of these light-dispersing pigments causes the paint to increase in transparency. -I recently made some experiments involving mixing acid-base titration indicators into various fresh white oil paints and then painting them out. In a few minutes, the pH 4, 4.1, and 4.7 indicators began to change color, but the pH 3.3 and 3.7 indicators remained unchanged for months. For comparison, samples were removed and exposed to ammonia vapor to return them to their initial color (for a short time). Similar control samples in artists acrylic paint did not change color at all. This demonstrates that oil paint becomes acidic within a short period of time ({% cite 'Ruhemann 1953' %}). +I recently made some experiments involving mixing acid-base titration indicators into various fresh white oil paints and then painting them out. In a few minutes, the pH 4, 4.1, and 4.7 indicators began to change color, but the pH 3.3 and 3.7 indicators remained unchanged for months. For comparison, samples were removed and exposed to ammonia vapor to return them to their initial color (for a short time). Similar control samples in artists acrylic paint did not change color at all. This demonstrates that oil paint becomes acidic within a short period of time ({% cite 'Hackney 2020' %}). -The acidic nature of dried oil paint is the reason why artists do not paint directly on canvas but instead protect it with a coat of glue size. The application of an oil ground or paint on top of this water-soluble size layer produces many of the structural and mechanical problems that we have to deal with. A hot glue size will engulf the canvas, but when applied cold it can accumulate on the canvas surface ({% cite 'Ruhemann 1953' %}). If and when a glue size cracks, its barrier properties are reduced and volatile breakdown products (VOCs) may reach the canvas. +The acidic nature of dried oil paint is the reason why artists do not paint directly on canvas but instead protect it with a coat of glue size. The application of an oil ground or paint on top of this water-soluble size layer produces many of the structural and mechanical problems that we have to deal with. A hot glue size will engulf the canvas, but when applied cold it can accumulate on the canvas surface ({% cite 'Morgan et al. 2012' %}). If and when a glue size cracks, its barrier properties are reduced and volatile breakdown products (VOCs) may reach the canvas. -Similarly, if we add a consolidating or lining adhesive that can become acidic on oxidation, the canvas will be exposed to more rapid deterioration. These arguments suggest more research is needed into both conservation adhesives and ways of achieving adequate deacidification of canvas ({% cite 'Ruhemann 1953' %}; {% cite 'Ruhemann 1953' %}). +Similarly, if we add a consolidating or lining adhesive that can become acidic on oxidation, the canvas will be exposed to more rapid deterioration. These arguments suggest more research is needed into both conservation adhesives and ways of achieving adequate deacidification of canvas ({% cite 'Hackney, Townsend, and Wyplosz 1996' %}; {% cite 'Ryder 1986' %}). -Enclosure on display or in storage to reduce moisture exchange and deposition of external pollution, such as nitrogen dioxide and particulates, is an important conservation measure ({% cite 'Ruhemann 1953' %}) and a more sustainable alternative to air-conditioning, but measurements within enclosures demonstrate that we have to be careful in its use ([fig. 1.7a and b](#fig-1-7)) +Enclosure on display or in storage to reduce moisture exchange and deposition of external pollution, such as nitrogen dioxide and particulates, is an important conservation measure ({% cite 'McClure 2012' %}) and a more sustainable alternative to air-conditioning, but measurements within enclosures demonstrate that we have to be careful in its use ([fig. 1.7a and b](#fig-1-7)) {% figure 'fig-1-7' %} diff --git a/content/1-history/5.md b/content/1-history/5.md index 2aee970..e56ffbb 100644 --- a/content/1-history/5.md +++ b/content/1-history/5.md @@ -31,15 +31,15 @@ In fact, it is possible since at least the eighteenth century to trace the evide One of these craftsmen was Giuseppe Maria Ranzenò, known as il Filosofo (the Philosopher), who as early as 1726 was paid for “*due tele imprimate*” (two primed canvases) ({% cite 'Pavone 1994' '140' %}). In 1740, he supplied some cases of canvas to the Reale Arazzeria, established by Charles of Bourbon, which produced many splendid tapestries for the royal residences ({% cite 'Siniscalco 1979' '278' %}). The Arazzeria was based in Via San Carlo alle Mortelle, together with the Pietre Dure laboratory, in the same location where the Art Academy would soon be born. -Other testimonies regarding the activity of the Arazzeria between 1761 and 1768 clarify the specificity of Ranzenò's profession. This information is found in a collection of documents published in 1979 as part of a campaign of wide-ranging research aimed at reconstructing the various and multifaceted artistic activities of the eighteenth century, thanks to a group of historians whose scholarship would come together to give rise to the great *Civiltà del Settecento a Napoli* exhibition in Naples (December 1979–October 1980) ({% cite 'Catalano and Prisco 2003' %}; {% cite 'Catalano and Prisco 2003' %}). +Other testimonies regarding the activity of the Arazzeria between 1761 and 1768 clarify the specificity of Ranzenò's profession. This information is found in a collection of documents published in 1979 as part of a campaign of wide-ranging research aimed at reconstructing the various and multifaceted artistic activities of the eighteenth century, thanks to a group of historians whose scholarship would come together to give rise to the great *Civiltà del Settecento a Napoli* exhibition in Naples (December 1979–October 1980) ({% cite 'N. Spinosa 1979' %}; {% cite '*Civiltà del ’700 a Napoli* 1980' %}). In the Reale Arazzeria, several painters, including Girolamo Storace, Giuseppe Bonito, and Orlando Filippini, were engaged to create oil paintings that served as a guide to tapestry weaving ([fig. 5.1a](#fig-5-1)) and ([fig. 5.1b](#fig-5-1)). Giuseppe Maria Ranzenò supplied them with prepared canvases on which to make their models, and for this reason in the documents he is called “*mesticatore*” ({% cite 'Siniscalco 1979' '282' %}), from *mestica*, the mixture with which the canvases were prepared for painting. But we also find him at work in other activities closely related to those of the painters active for the Arazzeria, which he assisted with all aspects relating to the preparation of the supports. {% figure 'fig-5-1' %} -A payment note dated 1763 describes the variety of these supplies. It refers to a “canvas for painting made by Giuseppe Maria Ranzenò called the Philosopher, ordered by the Court Painter D. Giuseppe Bonito to make the frieze of the tapestry by the painter Filippini,” and the canvas is described as, “with its good stretcher with the crossbar, prepared with priming the color of lead white” ({% cite 'Catalano and Prisco 2003' %}). +A payment note dated 1763 describes the variety of these supplies. It refers to a “canvas for painting made by Giuseppe Maria Ranzenò called the Philosopher, ordered by the Court Painter D. Giuseppe Bonito to make the frieze of the tapestry by the painter Filippini,” and the canvas is described as, “with its good stretcher with the crossbar, prepared with priming the color of lead white” ({% cite 'A. Spinosa 1979' '382' %}). -A real restoration is then described of two old *modelli* for the frieze. Orlando Filippini was in charge of painting the patterns for the floral friezes that adorned the tapestries, the main “stories” of which were then entrusted to Bonito. Indeed, in 1768, the same Ranzenò would still declare he had supplied Filippini with the canvases on which to paint “the flowers for the friezes” ({% cite 'Catalano and Prisco 2003' %}). Evidently, sometimes these oil paintings that served as *modelli* for the friezes were reused, and this explains the restoration of the “old *modello* for the frieze” mentioned in the note of 1762: “It has been lined with a single piece of fine canvas and it has been filled in many areas having first flattened it on a larger stretcher; then it was attached to its own stretcher that was in the Arazzeria” ({% cite 'Catalano and Prisco 2003' %}). +A real restoration is then described of two old *modelli* for the frieze. Orlando Filippini was in charge of painting the patterns for the floral friezes that adorned the tapestries, the main “stories” of which were then entrusted to Bonito. Indeed, in 1768, the same Ranzenò would still declare he had supplied Filippini with the canvases on which to paint “the flowers for the friezes” ({% cite 'A. Spinosa 1979' '383' %}). Evidently, sometimes these oil paintings that served as *modelli* for the friezes were reused, and this explains the restoration of the “old *modello* for the frieze” mentioned in the note of 1762: “It has been lined with a single piece of fine canvas and it has been filled in many areas having first flattened it on a larger stretcher; then it was attached to its own stretcher that was in the Arazzeria” ({% cite 'A. Spinosa 1979' '382' %}). The lining procedure is described here with details rarely found in the sources. The document indicates the type of canvas used: “*fina*” (fine, or thin) and “a single piece” (that is, without seams). It describes the use of a stretcher that we would now call temporary: larger than the original one, prepared specifically for the lining procedure. And it tells us that the lined painting was then placed back on its original stretcher. @@ -59,9 +59,9 @@ In contrast to the assessment of the *accomodamento*, the artistic restoration, A distinct intermediate activity was therefore taking shape—if not conservation, exactly, perhaps adjusting or repairing—a field of action somewhere between lining and artistic restoration in which both Ranzenò and his collaborator Senzapaura—the latter also called the Philosopher in his turn—were involved. Between 1762 and 1775, the two were engaged in the restoration of the copper paintings by Domenichino, Ribera, and Stanzione in the Cappella del Tesoro of San Gennaro in Naples Cathedral. The restoration of the paintings on copper would have included a cleaning but also probably consolidation of the flaking layers of paint, a consistently recurring conservation problem throughout the history of the numerous interventions on the seven great altarpieces (see {% cite 'Cerasuolo 2010' '113' %}). -A few years later we see the emergence of the *telaiolo* Pasquale Chiariello, the first exponent of a family of restorers whose names we meet over a very broad span of time, from the late eighteenth to the second half of the twentieth century. In 1796, the latter supplied prepared canvases to the painter Tischbein: “Six *tele impresse* were delivered by the *telajolo* Pasquale Chiariello to the Director of the Royal Academy of Painting, D. Guglielmo Tischbein, to paint figures on them” ({% cite 'Cerasuolo 2007' '29' %}). From that date until almost to our own times, the activity of the Chiariello family as manufacturers of canvases and as liners unfolds seamlessly. From 1826 to 1828 we find repeated references to the “*foderatori Raffaele e Antonio Chiariello*” engaged in work for the preparation of the Real Museo Borbonico ({% cite 'Catalano and Prisco 2003' %}). +A few years later we see the emergence of the *telaiolo* Pasquale Chiariello, the first exponent of a family of restorers whose names we meet over a very broad span of time, from the late eighteenth to the second half of the twentieth century. In 1796, the latter supplied prepared canvases to the painter Tischbein: “Six *tele impresse* were delivered by the *telajolo* Pasquale Chiariello to the Director of the Royal Academy of Painting, D. Guglielmo Tischbein, to paint figures on them” ({% cite 'Cerasuolo 2007' '29' %}). From that date until almost to our own times, the activity of the Chiariello family as manufacturers of canvases and as liners unfolds seamlessly. From 1826 to 1828 we find repeated references to the “*foderatori Raffaele e Antonio Chiariello*” engaged in work for the preparation of the Real Museo Borbonico ({% cite 'Catalano 2007' %}). -In the 1820s, in the preparation for the opening of the museum in the rooms of Palazzo degli Studi (the current Museo Archeologico Nazionale di Napoli), an intense campaign of restorations was undertaken, for which many important documents have survived, such as notes drawn up in order to estimate the necessary expenses ({% cite 'Catalano and Prisco 2003' %}). For the “canvas paintings of the Neapolitan School” a summary table lists the paintings (thirty-two works, including ones by Jusepe de Ribera, Luca Giordano, Salvator Rosa, and Aniello Falcone), and links them over three columns to the list of operations envisaged: “*Foderatura e tutt’altro occorre al completo*” (Lining and anything else is needed in full), “*Spianatura a colla e rassetto in telaro*” (Glue leveling and rearrangement on the stretcher), “*Telari a zeppe*” (Stretchers with wedges)[^6] (see {% cite 'Cerasuolo 2008' '28' %}). +In the 1820s, in the preparation for the opening of the museum in the rooms of Palazzo degli Studi (the current Museo Archeologico Nazionale di Napoli), an intense campaign of restorations was undertaken, for which many important documents have survived, such as notes drawn up in order to estimate the necessary expenses ({% cite 'D’Alconzo 2003' %}). For the “canvas paintings of the Neapolitan School” a summary table lists the paintings (thirty-two works, including ones by Jusepe de Ribera, Luca Giordano, Salvator Rosa, and Aniello Falcone), and links them over three columns to the list of operations envisaged: “*Foderatura e tutt’altro occorre al completo*” (Lining and anything else is needed in full), “*Spianatura a colla e rassetto in telaro*” (Glue leveling and rearrangement on the stretcher), “*Telari a zeppe*” (Stretchers with wedges)[^6] (see {% cite 'Cerasuolo 2008' '28' %}). The operations described in the first two columns are obviously alternatives. In fact, in less serious cases, in place of the lining, only the *spianatura* operation would be performed. From other documents we can better understand what this “flattening” consisted of: the consolidation of the paint layers carried out by applying animal glue—the “strong glue” traditionally used for this purpose and also used for the lining—on the reverse of the canvas, without removing the painting from the stretcher, and then ironing it in this way. @@ -103,7 +103,7 @@ The emphasis is therefore placed on a direct relationship between the guarantee ## Knowledge of Materials and Careful Interventions -To great expertise in the practice of lining, Neapolitan liners added a profound knowledge of the materials of painting, which during the nineteenth century advised extreme caution in interventions. We have found evidence—both material and documentary—of interesting interventions in the case of two glue-tempera paintings: Parmigianino’s *Holy Family,* and Bertoja’s *Virgin and Child* ([figs. 5.4](#fig-5-4) and [5.5](#fig-5-5)), respectively) ({% cite 'Catalano and Prisco 2003' %}). Both interventions are notable in their sensitive attention to the behavior of the materials involved. In these two beautiful canvases, the rare qualities provided by the medium have been preserved thanks to the care taken, which ensured their good conservation, and which is still effective today. +To great expertise in the practice of lining, Neapolitan liners added a profound knowledge of the materials of painting, which during the nineteenth century advised extreme caution in interventions. We have found evidence—both material and documentary—of interesting interventions in the case of two glue-tempera paintings: Parmigianino’s *Holy Family,* and Bertoja’s *Virgin and Child* ([figs. 5.4](#fig-5-4) and [5.5](#fig-5-5)), respectively) ({% cite 'Cardinali et al. 2002' %}). Both interventions are notable in their sensitive attention to the behavior of the materials involved. In these two beautiful canvases, the rare qualities provided by the medium have been preserved thanks to the care taken, which ensured their good conservation, and which is still effective today. {% figuregroup '2' 'fig-5-4, fig-5-5' %} @@ -115,18 +115,17 @@ The examination of the paintings revealed that the canvases of the Bertoja and o The edges of the canvases were fixed with strips of wood nailed along the perimeter to the stretcher and then wrapped with a glued paper. The stretchers, from different and unspecified periods—that of the Parmigianino is older and could be original—are of the fixed type. -Glue-tempera makes colors look soft and light and is easily spoiled by the application of varnish or oily materials. In fact, glue, although relatively strong as a binder, does not form a continuous, even film on the surface, which therefore is quite porous. As a result, the colors once dried appear lighter and less saturated than when wet (see {% cite 'Cerasuolo 2017' '220–30' %}; {% cite 'Catalano and Prisco 2003' %}). +Glue-tempera makes colors look soft and light and is easily spoiled by the application of varnish or oily materials. In fact, glue, although relatively strong as a binder, does not form a continuous, even film on the surface, which therefore is quite porous. As a result, the colors once dried appear lighter and less saturated than when wet (see {% cite 'Cerasuolo 2017' '220–30' %}; {% cite 'Cerasuolo 2019' %}). -A conscious and attentive protective intervention driven by the same care was taken with the two *Tüchlein* by Bruegel, which were placed under the glass as a preventive measure, rejecting the choice of more invasive interventions so as not to distort the optical qualities of the medium (see {% cite 'Cerasuolo 2017' '220–30' %}; {% cite 'Catalano and Prisco 2003' %}). +A conscious and attentive protective intervention driven by the same care was taken with the two *Tüchlein* by Bruegel, which were placed under the glass as a preventive measure, rejecting the choice of more invasive interventions so as not to distort the optical qualities of the medium (see {% cite 'Cerasuolo 2017' '220–30' %}; {% cite 'Cerasuolo 2019' %}). -The documents testify to a remarkable awareness of the conservation problems posed by these works, which resulted in efforts of a purely conservative nature, thus avoiding the risks entailed by intrusive interventions. In 1846, Camillo Guerra, a professor of painting, wrote to the director of the museum reporting on the poor condition of the two Bruegels. In an 1847 document in reference to one of the two paintings, he wrote that “as it is painted in glue-tempera it is more easily subject to deterioration.” On May 13, 1853, the Commissione dei Restauri (the commission of artists who supervised restorations at the Museum) took the decision “to put behind glass the two tempera paintings by Pieter Bruegel, which are kept in the Dutch school” (see {% cite 'Catalano and Prisco 2003' %}). +The documents testify to a remarkable awareness of the conservation problems posed by these works, which resulted in efforts of a purely conservative nature, thus avoiding the risks entailed by intrusive interventions. In 1846, Camillo Guerra, a professor of painting, wrote to the director of the museum reporting on the poor condition of the two Bruegels. In an 1847 document in reference to one of the two paintings, he wrote that “as it is painted in glue-tempera it is more easily subject to deterioration.” On May 13, 1853, the Commissione dei Restauri (the commission of artists who supervised restorations at the Museum) took the decision “to put behind glass the two tempera paintings by Pieter Bruegel, which are kept in the Dutch school” (see {% cite 'Cerasuolo 2019' %}). ## The Transfer: Ancient Testimonies and Dangerous Practices Another important aspect of the caution shown by the museum administration concerns the practice of transfer, which was consciously avoided in the nineteenth century in the Museo Borbonico thanks to the awareness of its dangers. We find a clear testimony of this in a document dated 1810: Michele Arditi strongly opposed Paolino Girgenti, who wanted to transfer the *Strage degli Innocenti* by Andrea Vaccaro, in order to eliminate the imperfection caused by the seam joining the two pieces of canvas ({% cite 'D’Alconzo and Prisco 2005' '84' %}). -The practice of transfer was carried out very early in Naples, since at least the eighteenth century. In 1742, Bernardo De Dominici recounted the skill of two Neapolitan artists, Nicolò di Simone and Alessandro Majello, who specialized in the transfer of flaking paintings on panel onto canvas supports ({% cite 'De Dominici (1742–1743) 2003–14' '796, 994' 'De Dominici [1742–1743] 2003–14' %}, cited in {% cite 'Conti 2007' '140' %}). - +The practice of transfer was carried out very early in Naples, since at least the eighteenth century. In 1742, Bernardo De Dominici recounted the skill of two Neapolitan artists, Nicolò di Simone and Alessandro Majello, who specialized in the transfer of flaking paintings on panel onto canvas supports ({% cite 'De Dominici (1742–43) 2003–14' '796, 994' 'De Dominici [1742–43] 2003–14' %}, cited in {% cite 'Conti 2007' '140' %}). The restoration of a painting by Fedele Fischetti, *Noli Me Tangere*, from the church of Santa Caterina da Siena ([fig. 5.7a](#fig-5-7)), in 1998,[^13] enabled us to examine a material example of a partial transfer procedure, probably carried out by the artist himself during the execution of the painting, which can be traced back to 1766–1767. There are documents that refer to Fischetti’s activity as a restorer ({% cite 'Nappi 1984' '320' %}), but in this case it was possible to verify the procedure carried out long ago directly on a painting. @@ -148,7 +147,7 @@ In the first half of the twentieth century, Pasquale Chiariello and his sons Umb Finally, in the second half of the twentieth century, improvements to traditional lining techniques with *colla pasta* (glue paste) were developed by Antonio De Mata ({% cite 'Cerasuolo 2008' '40–42' %}).[^14] De Mata personally took care of the lining and the cleaning and restoration. In his vision, structural conservation was not a subordinate phase but together with the other phases of conservation/restoration contributed to the aesthetic recovery of the materiality of a work. He developed a temporary stretcher with adjustable tie-rods that allowed a canvas’s tension to be controlled by loosening and tightening as necessary. He also devised a procedure for the preventive consolidation of paintings on canvas. After freeing the surface from dust and foreign matter, animal glue was gradually applied on the back, in several stages, if necessary, keeping the canvas fixed at the edges. This procedure, which was completed by ironing the painting from the back, reduced the risks of humidity and allowed the improvement of the surface of the paint film without damaging its material qualities. -The procedure is particularly suitable for solving the conservation problems of Neapolitan paintings on canvas of the seventeenth and eighteenth centuries, with their thick, rigid preparation layers. Indeed, the animal glues and flour—materials that have always been used for preparing canvases before applying the oil ground and the oil-bound paint layers (see {% cite 'Cerasuolo 2017' '240–41' %}; {% cite 'Catalano and Prisco 2003' %}), are highly compatible with the original ones, and are able to effectively consolidate old master paintings on canvas. +The procedure is particularly suitable for solving the conservation problems of Neapolitan paintings on canvas of the seventeenth and eighteenth centuries, with their thick, rigid preparation layers. Indeed, the animal glues and flour—materials that have always been used for preparing canvases before applying the oil ground and the oil-bound paint layers (see {% cite 'Cerasuolo 2017' '240–41' %}; {% cite 'Véliz 1982' '50–51' %}), are highly compatible with the original ones, and are able to effectively consolidate old master paintings on canvas. Comparing the condition of many paintings in the Capodimonte Museum that have been lined in the last fifty years—as well as documented and continuously monitored—makes it possible to evaluate the positive outcome of these linings over time. In many cases this method continues to be effective, and some restorers who learned directly from De Mata and continued his practice, can still teach us much about the behavior of materials and intervention techniques. To preserve a testimony, a meeting was organized in January 2014: an interview with the restorers of that generation, recording their memories and observations, in order to capture a tradition that has been too often left unrecorded.[^15] The recovery of these procedures, insofar as they can be effective and safe, will hopefully be a task and a legacy of the new generations. @@ -160,7 +159,7 @@ Comparing the condition of many paintings in the Capodimonte Museum that have be [^1]: The term *telaiolo* is found in contemporary documents with different spellings but the same meaning: *telaiuolo*, *telajolo*. -[^2]: The letter is kept in the “Quaderni di Giovanni Fraccia”: a transcription made in the 1880s by the scholar Giovanni Fraccia of documents already present in a bundle of the Naples State Archive, destroyed during the Second World War. The 'notebooks' containing these transcriptions are now kept in the archives of the National Archaeological Museum of Naples. Archivio Storico del Museo Archeologico Nazionale di Napoli (ASMANN), II inv., 40, II, “Quaderni di Giovanni Fraccia,” 1759, 68; cited by {% cite 'Denunzio 2002' '264, 270n16' %}. See also {% cite 'Cerasuolo 2007' '28–29' %}. +[^2]: The letter is kept in the “Quaderni di Giovanni Fraccia”: a transcription made in the 1880s by the scholar Giovanni Fraccia of documents already present in a bundle of the Naples State Archive, destroyed during the Second World War. The 'notebooks' containing these transcriptions are now kept in the archives of the National Archaeological Museum of Naples. Archivio Storico del Museo Archeologico Nazionale di Napoli (ASMANN), II inv., 40, II, “Quaderni di Giovanni Fraccia,” 1759, 68; cited by {% cite 'Denunzio 2002' '264, 270n16' %}. See also {% cite 'Cerasuolo 2007' '28–29' %}. [^3]: ASMANN, “Quaderni di Giovanni Fraccia,” 1759, 68. diff --git a/content/1-history/6.md b/content/1-history/6.md index 64b548d..1fe323e 100644 --- a/content/1-history/6.md +++ b/content/1-history/6.md @@ -35,41 +35,41 @@ The second method is based on a recipe with 2:1 ratio of dry sturgeon glue to ho Several years later these methods and their variations were included by Ivan Gorin and Zinaida Tcherkasova in chapter of a text for art colleges teaching conservation; it remained the most popular guide to practical restoration for at least 20 years ({% cite 'Gorin and Tcherkasova 1977' '126' %}). Interestingly, it also has chapters on structural treatments with wax-resin adhesives that were already falling out of practice by that time. -In 1974, Larissa Yashkina made a presentation at Greenwich conference, basing her speech on a variation of the first method described above, though she offered slightly different formulations of the lining compounds and gave more technical details about the procedure ({% cite 'Villers 2003b' %}). It was a more common method at that time, and considered to be more reliable. +In 1974, Larissa Yashkina made a presentation at Greenwich conference, basing her speech on a variation of the first method described above, though she offered slightly different formulations of the lining compounds and gave more technical details about the procedure ({% cite 'Yashkina 2003' %}). It was a more common method at that time, and considered to be more reliable. -Further investigations on sturgeon-glue lining compounds were conducted in 1970s and 1980s. In 1975, Roza Yabrova presented a paper discussing some new materials for plasticizing sturgeon glue ({% cite 'Villers 2003b' %}). Her comparative research showed that such additives as polyethylene glycol (trade name PEG 600), carbamide, and sorbitol could replace natural honey, without all its problems and drawbacks. But traditions seem to extremely strong among the Russian conservators, as none of these materials were adopted in standard practice, so later research continued to focus on sturgeon-honey solutions—as well as concentrating on solving the problem of collagen glues being prone to biodeterioration ({% cite 'Villers 2003b' %}; {% cite 'Villers 2003b' %}; {% cite 'Villers 2003b' %}). +Further investigations on sturgeon-glue lining compounds were conducted in 1970s and 1980s. In 1975, Roza Yabrova presented a paper discussing some new materials for plasticizing sturgeon glue ({% cite 'Yabrova 1975' %}). Her comparative research showed that such additives as polyethylene glycol (trade name PEG 600), carbamide, and sorbitol could replace natural honey, without all its problems and drawbacks. But traditions seem to extremely strong among the Russian conservators, as none of these materials were adopted in standard practice, so later research continued to focus on sturgeon-honey solutions—as well as concentrating on solving the problem of collagen glues being prone to biodeterioration ({% cite 'Nazarova 1984' %}; {% cite 'Nazarova and Potapov 1984' %}; {% cite 'Rebrikova 2013' %}). Nowadays traditional lining technique is still one of the most common methods of consolidation of original canvas supports of the paintings. But during the past ten years there has been a significant change in the whole procedure. First of all, sturgeon has become an endangered species in Russia—since 2013 it has been protected by a federal law that limits sturgeon fishing and processing. The State Research Institute for Restoration has studied rabbit-skin glue an as alternative to sturgeon glue and came to the conclusion that if used in less-concentrated solutions, rabbit-skin glue can be successfully applied to consolidate paint and ground layers and also used for lining.[^5] -Moreover, there is now a trend toward reducing the amount of additives in the lining compounds. As the storage and exhibit conditions in Russian museums have generally become more stable—with balanced temperature and humidity—there is no need to add biocides and plasticizers during each treatment. Case studies demonstrate good results for paintings that were treated with collagen glue solutions without honey ({% cite 'Villers 2003b' %}; {% cite 'Villers 2003b' %}; {% cite 'Villers 2003b' %}). +Moreover, there is now a trend toward reducing the amount of additives in the lining compounds. As the storage and exhibit conditions in Russian museums have generally become more stable—with balanced temperature and humidity—there is no need to add biocides and plasticizers during each treatment. Case studies demonstrate good results for paintings that were treated with collagen glue solutions without honey ({% cite 'Alyoshkina 2015' %}; {% cite 'Voronina 2019' %}; {% cite 'Yurovetskaya 2016' %}). ## Treatments to Postpone Lining -In the 1970s and 1980s, leading studios and institutions evolved new methods of preserving linen canvases that are still widely used in conservation practice in Russia. One of the most vivid examples is a tear-mending technique developed at the State Research Institute for Restoration (GOSNIIR) in the 1970s that is still widely used by conservators throughout the country ({% cite 'Villers 2003b' %}). It suggests that tears and cuts of the textile painting supports are treated with 5% solution of polyvinyl butyral (PVB) in ethanol or isopropanol. Saturated threads are interwoven and after drying are fixed using a hot spatula. This adhesive has been widely used in conservation practice in Russia since 1950s ({% cite 'Villers 2003b' %}), especially for treating murals, ceramics, and fabric painting supports. Its glass transition temperature (Tg) is approximately 60°C–70°C. “PVB films are resistant to light and heat-sealable at temperatures above 120°C.…PVB films are noted for their biostable and abrasion resistance properties as well as for good colorfastness against ultraviolet light, low static generation, and low water absorbtion” ({% cite 'Sannikova 2018' '106' %}). In 2008, the tear-mending technique was slightly extended by adjusting the method for strip-lining two-sided paintings to avoid overlaps of new margins over the paint layer ({% cite 'Villers 2003b' %}). The working procedure has also slightly changed. Following a general trend holding that less is more, conservators tend to use less adhesive for the process: instead of saturating canvas around the tears, they just apply it to the direct spots. +In the 1970s and 1980s, leading studios and institutions evolved new methods of preserving linen canvases that are still widely used in conservation practice in Russia. One of the most vivid examples is a tear-mending technique developed at the State Research Institute for Restoration (GOSNIIR) in the 1970s that is still widely used by conservators throughout the country ({% cite 'Surovov and Yashkina 1979' %}). It suggests that tears and cuts of the textile painting supports are treated with 5% solution of polyvinyl butyral (PVB) in ethanol or isopropanol. Saturated threads are interwoven and after drying are fixed using a hot spatula. This adhesive has been widely used in conservation practice in Russia since 1950s ({% cite 'Rumyantsev 1953' %}), especially for treating murals, ceramics, and fabric painting supports. Its glass transition temperature (Tg) is approximately 60°C–70°C. “PVB films are resistant to light and heat-sealable at temperatures above 120°C.…PVB films are noted for their biostable and abrasion resistance properties as well as for good colorfastness against ultraviolet light, low static generation, and low water absorbtion” ({% cite 'Sannikova 2018' '106' %}). In 2008, the tear-mending technique was slightly extended by adjusting the method for strip-lining two-sided paintings to avoid overlaps of new margins over the paint layer ({% cite 'Yashkina and Churakova 2013' %}). The working procedure has also slightly changed. Following a general trend holding that less is more, conservators tend to use less adhesive for the process: instead of saturating canvas around the tears, they just apply it to the direct spots. -A method of stabilizing canvases by starch sizing was introduced by conservators of the Tretyakov gallery and came into common practice as a procedure for conserving canvas ({% cite 'Villers 2003b' %}). The technique was first developed in 1970s but was not published until the mid-1990s, being constantly improved in the interim by its author, Galina Yushkevich. +A method of stabilizing canvases by starch sizing was introduced by conservators of the Tretyakov gallery and came into common practice as a procedure for conserving canvas ({% cite 'Yushkevich 1995' %}). The technique was first developed in 1970s but was not published until the mid-1990s, being constantly improved in the interim by its author, Galina Yushkevich. Before performing the operation, the picture must be stretched on paper margins; the painting layer should be fully covered by the facing. These precautions guarantee that the canvas of the painting is kept from shrinking during treatment, which involves heat and moisture. Afterwards, the painting is put face down on a flannel or a woven felt to protect the impasto. Sizing is performed by applying a 10% starch paste on the reverse of the picture and spreading it evenly. After the paste dries a little it is delicately removed with a palette knife. The small amount of remaining starch is pressed with a warm iron. This causes the residue of the paste to be absorbed into the structure of the picture, which helps reduce canvas deformations and makes the support less responsive to changes in temperature and humidity. -This method is also very effective for removing deformations, so it was adopted by many conservators and is still widely used in many studios. However, during the past few years this method has been reevaluated. Saturating canvas with starch ultimately makes the linen fibers more brittle and prone to microbiological damage. Nowadays cellulose ethers are mostly substituted for the starch; this also functions to better adsorb dust and glue residues from the canvas ({% cite 'Villers 2003b' %}), but such total saturation of fabric support is still questionable. +This method is also very effective for removing deformations, so it was adopted by many conservators and is still widely used in many studios. However, during the past few years this method has been reevaluated. Saturating canvas with starch ultimately makes the linen fibers more brittle and prone to microbiological damage. Nowadays cellulose ethers are mostly substituted for the starch; this also functions to better adsorb dust and glue residues from the canvas ({% cite 'Churakova, Karasyova, and Yurovetskaya 2018' '56' %}), but such total saturation of fabric support is still questionable. -In the late 1980s, another interesting technique used to stabilize canvas supports was introduced by GOSNIIR: hydrophobization of textile supports with solutions of organosilicons in isopropanol or refined gasoline ({% cite 'Villers 2003b' %}). Two coats of a 5% solution of polymethylhydrosiloxane are applied by brushing or spraying onto the reverse side of the picture sixty minutes apart. This coats the textile fibers and reduces the canvas’s response to changes in temperature and humidity. The process of polymerization is usually finished after eight to ten days of exposure, when the solvent evaporates. The properties of organosilicons (such as polymethylhydrosiloxane) still allow for later protein glue treatments, including sturgeon glue linings ({% cite 'Villers 2003b' %}). +In the late 1980s, another interesting technique used to stabilize canvas supports was introduced by GOSNIIR: hydrophobization of textile supports with solutions of organosilicons in isopropanol or refined gasoline ({% cite 'Malachevskaya and Yashkina 1986' %}). Two coats of a 5% solution of polymethylhydrosiloxane are applied by brushing or spraying onto the reverse side of the picture sixty minutes apart. This coats the textile fibers and reduces the canvas’s response to changes in temperature and humidity. The process of polymerization is usually finished after eight to ten days of exposure, when the solvent evaporates. The properties of organosilicons (such as polymethylhydrosiloxane) still allow for later protein glue treatments, including sturgeon glue linings ({% cite 'Fedoseeva 1999' '68–69' %}). -Evaluating methods of hydrophobization of canvases with solutions of organosilicons seems to be a more complicated task for now. All tests performed with the samples showed very good results. According to publications on the project, treated canvases quickly repel surface moisture, do not get wet, are not prone to shrinkage and deformation, and withstand sharp increases in humidity ({% cite 'Villers 2003b' %}). Moreover, the air and vapor permeability of canvases did not change ({% cite 'Villers 2003b' %}). However, when this treatment was applied to the paintings, it turned out that on some artworks the consolidation operations with water-based solutions were not as effective as they were on the untreated with organosilicon objects. Moreover, the process of degradation of polymethylhydrosiloxane is still to be investigated. +Evaluating methods of hydrophobization of canvases with solutions of organosilicons seems to be a more complicated task for now. All tests performed with the samples showed very good results. According to publications on the project, treated canvases quickly repel surface moisture, do not get wet, are not prone to shrinkage and deformation, and withstand sharp increases in humidity ({% cite 'Nazarova, Malachevskaya, and Yashkina 1990' %}). Moreover, the air and vapor permeability of canvases did not change ({% cite 'Malachevskaya and Yashkina 2013' %}). However, when this treatment was applied to the paintings, it turned out that on some artworks the consolidation operations with water-based solutions were not as effective as they were on the untreated with organosilicon objects. Moreover, the process of degradation of polymethylhydrosiloxane is still to be investigated. ## Accepting Global Trends and Materials We did not have an industry dedicated to conservation products in the former Soviet Union, nor do we currently have one in Russia. None of the polymers that have been studied, tested, and applied were produced specifically for conservation purposes; all of them were created for the production sector and then adapted to conservation needs. In the 1990s, not only the political but also the economic life of our country underwent serious changes after the collapse of the Soviet Union. Many manufacturers either closed or changed production technology, afterwards offering new materials to the market. At the same time, importation of European and American conservation materials started to grow, so people working in the conservation and restoration sphere suddenly had a broad selection of totally new polymers to get acquainted with. Consequently, the beginning of the new period in Russian history started with a lot of experimentation, comparative work, and research in the conservation field. Specialists returned to the international conservation community, attending conferences and scientific seminars and learning more about the work of their foreign colleagues. At this time a lot of tests were also established, including those on materials for structural conservation of canvases. -GOSNIIR conducted comparative research on three acrylic dispersions: Lascaux 498 HV (Lascaux Colours & Restauro) was compared to two adhesives originally produced in Russia for coated paper and textile manufacturing. The first has the trade name ABV1B and is a copolymer of butyl acrylate, methacrylic acid, and vinyl acetate. The second has the trade name AK-243 and is a copolymer of ethyl acrylate, methacrylic acid, vinyl acetate, and acrylonitrile. Both have a working concentration of up to 50% ({% cite 'Fedoseeva et al. 2016' '98–99' %}). All three dispersions meet the general requirements for a strip-lining adhesive: to not penetrate deeply into the threads of the canvas, not cause shrinkage of the canvas, have a high adhesive capacity, and form a film with elasticity that persists over time. +GOSNIIR conducted comparative research on three acrylic dispersions: Lascaux 498 HV (Lascaux Colours & Restauro) was compared to two adhesives originally produced in Russia for coated paper and textile manufacturing. The first has the trade name ABV1B and is a copolymer of butyl acrylate, methacrylic acid, and vinyl acetate. The second has the trade name AK-243 and is a copolymer of ethyl acrylate, methacrylic acid, vinyl acetate, and acrylonitrile. Both have a working concentration of up to 50% ({% cite 'Fedoseeva et al. 2016' '98–99' %}). All three dispersions meet the general requirements for a strip-lining adhesive: to not penetrate deeply into the threads of the canvas, not cause shrinkage of the canvas, have a high adhesive capacity, and form a film with elasticity that persists over time. -Results of the comparative analysis showed that the AK-243 and ABV-1B dispersions are superior to the Lascaux adhesive on a number of indicators; in particular, they penetrate less into the threads of the canvas and do not cause shrinkage ({% cite 'Villers 2003b' %}). This popularity is despite the fact that both AK-243 and ABV-1B are still produced in Russia: manufacturers sell them only in industrial-scale volumes and retailers are not interested in organizing packaging the products in smaller sizes, conservators have problems obtaining them. +Results of the comparative analysis showed that the AK-243 and ABV-1B dispersions are superior to the Lascaux adhesive on a number of indicators; in particular, they penetrate less into the threads of the canvas and do not cause shrinkage ({% cite 'Fedoseeva, Malachevskaya, and Yashkina 1997' %}). Nevertheless, today the most popular adhesives for strip-lining are Beva products (Beva 371 Film or Beva D-8 Dispersion) and Lascaux 498 HV ({% cite 'Romanova 2019' %}). This popularity is despite the fact that both AK-243 and ABV-1B are still produced in Russia: manufacturers sell them only in industrial-scale volumes and retailers are not interested in organizing packaging the products in smaller sizes, conservators have problems obtaining them. -Following international trends, in the 1990s, the Russian conservation community started to familiarize itself with synthetic materials for lining and to compare them with traditional techniques ({% cite 'Villers 2003b' %}). There were also some intentions to develop or adapt Russian synthetic polymers for the lining process.[^6] In the end, an understanding that the most common sturgeon glue lining has obvious drawbacks and is not suitable for all artworks led to adopting a method for treating oil paintings that has been well known for lining textiles since the 1970s, when it was introduced at the Pranas Gudynas Centre for Restoration in Lithuania. +Following international trends, in the 1990s, the Russian conservation community started to familiarize itself with synthetic materials for lining and to compare them with traditional techniques ({% cite 'Fedoseeva 1998' %}). There were also some intentions to develop or adapt Russian synthetic polymers for the lining process.[^6] In the end, an understanding that the most common sturgeon glue lining has obvious drawbacks and is not suitable for all artworks led to adopting a method for treating oil paintings that has been well known for lining textiles since the 1970s, when it was introduced at the Pranas Gudynas Centre for Restoration in Lithuania. The method employs an acrylic adhesive with the trade name A-45-K, which is a copolymer of vinyl acetate, butyl acrylate, and acrylic acid in ethyl acetate ({% cite 'Emelyanov 2004' %}). In a form of either a dispersion or acetone solution, it can be brushed or sprayed on a lining cloth and later activated by temperature ({% cite 'Semechkina 1993' '125' %}). Its properties are in many ways similar to Plextol and Lascaux adhesives, but choosing a local manufacturer was preferred in the 1970s, not only to support the country’s economy but also because this particular material was well-known and tested. A-45-K has not become very popular for standard lining procedures for canvases, but it showed good results in a few specific case studies. -One example is the lining support of the eighteenth century painting *Conclusions of Field Marshall General Count B. H. Minikh on the Seizure of Ochakov*” ([figs. 6.1a](#fig-6-1-a) and [6.1b](#fig-6-1-b)) ({% cite 'Villers 2003b' %}). Silk was used as a support ([fig. 6.2](#fig-6-2)), and the image layer combined oil, gold paint, and ink. Adhesive A-45-K dissolved in acetone was sprayed on the surface of the lining cloth ([fig. 6.3](#fig-6-3)) and after matching with the original support was activated locally by heat ([figs. 6.4a](#fig-6-4-a) and [6.4b](#fig-6-4-b)). Effective application of A-45-K for this art piece still has not led to widespread adoption of this technique among professional conservators because, since 2006, when this method was first introduced for lining the Mikhail Vrubel painting *Gwydon* on a sackcloth support, it has become increasingly complicated to buy the material from the manufacturers. +One example is the lining support of the eighteenth century painting *Conclusions of Field Marshall General Count B. H. Minikh on the Seizure of Ochakov*” ([figs. 6.1a](#fig-6-1-a) and [6.1b](#fig-6-1-b)) ({% cite 'Iurovetskaia et al. 2019' %}). Silk was used as a support ([fig. 6.2](#fig-6-2)), and the image layer combined oil, gold paint, and ink. Adhesive A-45-K dissolved in acetone was sprayed on the surface of the lining cloth ([fig. 6.3](#fig-6-3)) and after matching with the original support was activated locally by heat ([figs. 6.4a](#fig-6-4-a) and [6.4b](#fig-6-4-b)). Effective application of A-45-K for this art piece still has not led to widespread adoption of this technique among professional conservators because, since 2006, when this method was first introduced for lining the Mikhail Vrubel painting *Gwydon* on a sackcloth support, it has become increasingly complicated to buy the material from the manufacturers. {% figuregroup '2' 'fig-6-1-a, fig-6-1-b' 'Unknown artist, *Conclusions of Field Marshall General Count B. H. Minikh to the Seizure of Ochakov*, 1737. Mixed techniques on silk, 172 x 143 сm (67 3/4 x 56 1/3 in.). (a) After removing old facings. (b) Detail. Image: © State Historical Museum, Moscow' %} diff --git a/content/6-interventions/35.md b/content/6-interventions/35.md index fffeb36..7228355 100644 --- a/content/6-interventions/35.md +++ b/content/6-interventions/35.md @@ -54,7 +54,13 @@ During drying, the shrinking of the canvas led to the failure of adhesion betwee According to Cesare Brandi, matter is structure and aspect, and the aim of conservation is to stop the process of degradation of the artwork and to restore its structural unity to improve the perception of image and color ({% cite 'Brandi 2001' '34' %}). Additionally, conservation treatments and products must be compatible with the original materials, stable, and as reversible as possible. -In 1974, the Greenwich conference on comparative lining techniques highlighted the risks incurred by paint layers when moisture, pressure, and heat are applied, particularly with regard to traditional glue-paste and wax-resin techniques ({% cite 'Roche 2003' %}). Facings adhered to the paint layer with glue paste along with moderate heat and moisture were the most successful in flattening the roof-shape lifting back to the surface plane. However, this treatment was not systematic. Throughout the interventions, conservators also used a low-pressure vacuum table, in particular to restore the flatness of the paint layer and to simultaneously consolidate it. +In 1974, the Greenwich conference on comparative lining techniques highlighted the risks incurred by paint layers when moisture, pressure, and heat are applied, particularly with regard to traditional glue-paste and wax-resin techniques ([[Villers 2003b' %}). Indeed, these treatments can crush the paint layers, especially the impasto, and can also induce blanching. More recently, new methods of lining with synthetic adhesives have been developed, while traditional methods have evolved to improve the control of the different parameters of the procedure. + +The goal of the 2016–2017 interventions was to correct the deformations of the canvas, to reduce the lifting of paint layers, and to restore the cohesion of the multilayer system. Conservation protocols for all the paintings were established by taking into consideration the characteristics of each painting: the physicochemical properties of the original materials, the nature of the alterations, and past conservation treatments. Due to the fragility of the paintings, the conservators intervened very gradually. They alternated operations from the front, such as cleaning, and from the back of the artwork: reduction of deformations, consolidation, and relining, taking care to protect the paint layer with facings when it was necessary. + +For all the paintings, the first intervention essentially consisted of locally consolidating the paint layer with sturgeon glue before removing the facings with Bollore paper and hide glue applied during the rescue. Securing the paint layer with new facings made it possible to remove the mud residue, the adhesive, the patches, and the deficient old linings. After the long work of reducing the fabric canvas deformations with controlled humidity and pressure, and stretching the paintings on temporary metallic stretchers or with paper strips on panel as necessary, the localized moisture input and the application of weights made it possible to relax the canvas and bring the edges of the tears closer together before consolidating them by linking them thread to thread. + +Moisture was also essential to relax the canvas and to allow the paint layer to regain its place in the areas of roof-shape lifting. The conservators then applied facings, often in several layers, to restore the flatness of the paint layer. The supply of moisture and the level of pressure was controlled by using a variety of papers or gauzes with different properties of stretching upon wetting and of tension and shrinkage upon drying, as well as synthetic or natural adhesives at different concentrations ({% cite 'Delsaut and Durand 1989' %}). Facings adhered to the paint layer with glue paste along with moderate heat and moisture were the most successful in flattening the roof-shape lifting back to the surface plane. However, this treatment was not systematic. Throughout the interventions, conservators also used a low-pressure vacuum table, in particular to restore the flatness of the paint layer and to simultaneously consolidate it. Another type of intervention was carried out to restore the cohesion of the different layers and the adhesion between the paint layers and the support. Most of the paintings were impregnated from the reverse of the canvas with different adhesives: Aquazol, hide glue, sturgeon glue, and acrylic resins: Beva 371, Plextol B500, Paraloid B72. A total of 41 paintings were thus consolidated ([table 35.2](#table-35-2)). Most of the paintings with a red-clay-based preparation layer were consolidated with protein adhesives (animal glues) used in colloidal solutions. Because the clay-based preparations have a significant absorption capacity, this consolidation restores the cohesion within the preparation layer and the adhesion between the different layers. In contrast, white preparations form a more cohesive and rigid layer, so the addition of an aqueous adhesive is likely to accentuate the stresses between the preparation layer and the canvas—which, on more recent paintings, is often more reactive to water. For that reason, synthetic adhesives were used on most artworks with a white preparation layer. @@ -104,7 +110,7 @@ Once this surface condition was satisfactory, a new facing was applied with glue There remained the issue of bonding the new transfer canvas itself. In the traditional French style technique, the painting is adhered with glue paste to its new canvas, then it is ironed through the facing; this technique provides very good improvement of the surface condition and good flattening of the lifting paint. Nevertheless, it is a delicate procedure, one which requires a high degree of mastery of the technique. As the surface condition was now satisfactory, we considered that such an operation was not necessary. -From that point, we shifted to a synthetic type of bonding. We glued a nonwoven polyester fabric layer onto the cotton gauzes with diluted Plextol B500; this thin, fast-drying layer is meant to isolate the reverse from the greater amount of moisture used during the lining. +From that point, we shifted to a synthetic type of bonding. We glued a nonwoven polyester fabric layer onto the cotton gauzes with diluted Plextol B500; this thin, fast-drying layer is meant to isolate the reverse from the greater amount of moisture used during the lining. On another working strainer we stretched a linen-polyester lining canvas, which combines the strength and tension of linen with inertia and relative stability of polyester to moisture variations. It was adhered to the reverse of the painting using a mixture of equal parts Plextol B500 and Tylose MH-300 (methylcellulose) at 6% ([fig. 35.6](#fig-35-6)). After the lining, the protective facing layers were removed, and the painting was stretched on a new stretcher. @@ -135,7 +141,7 @@ It is also crucial that the knowledge of both traditional and modern methods be {% endbackmatter %} -[^1]: The town of Montargis is 100 kilometers south of Paris. In France, Montargis is known as the birthplace of the painter Anne-Louis Girodet-Trioson (1767–1824). +[^1]: The town of Montargis is 100 kilometers south of Paris. In France, Montargis is known as the birthplace of the painter Anne-Louis Girodet-Trioson (1767–1824). [^2]: C2RMF is a French public institution whose mission is to implement, in conjunction with the curators in charge of collections, the policies of the Ministry of Culture in the areas of research, preventive conservation, and conservation of artworks from public French museums. diff --git a/content/_data/references.yaml b/content/_data/references.yaml index f2e59e7..b8e1cf5 100644 --- a/content/_data/references.yaml +++ b/content/_data/references.yaml @@ -19,7 +19,7 @@ entries: - id: "Alyoshin 1989" full: "Alyoshin, Anatoliy. 1989. *Conservation of Easel Oil Paintings in Russia.* Leningrad: Khudozhnik RSFSR." - id: "Alyoshkina 2015" - full: "Alyoshkina, Ekaterina. 2015. “Experience of Retreating a Painting by Unknown Artist of the 18th Century: *Portrait of Unknown Archiereus (Bishop Athanasius Volkhovsky?).* In *Research in Conservation of Cultural Heritage,* Materials of international scientific methodological conference, Issue 4, edited by S. V. Filatov, I. V. Lebedeva, and G. I. Gerasimova, 6–20. Moscow: Indrik." + full: "Alyoshkina, Ekaterina. 2015. “Experience of Retreating a Painting by Unknown Artist of the 18th Century: *Portrait of Unknown Archiereus (Bishop Athanasius Volkhovsky?).* In *Research in Conservation of Cultural Heritage,* Materials of international scientific methodological conference, Issue 4, edited by S. V. Filatov, I. V. Lebedeva, and G. I. Gerasimova, 6–20. Moscow: Indrik." - id: "Amador Marrero 2012" full: "Amador Marrero, Pablo Francisco. 2012. “Imaginería ligera novohispana en el arte español de los siglos XVI–XVII.” PhD diss., Universidad de Las Palmas de Gran Canaria." - id: "Andersen 2012" @@ -59,7 +59,7 @@ entries: - id: "Barker 2017" full: "Barker, Sheila. 2017. “Artemisia’s Money: The Entrepreneurship of a Woman Artist in Seventeenth-Century Florence.” In *Artemisia Gentileschi in a Changing Light*, edited by Sheila Barker, 59–88. 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Townsend, T. Doherty, G. Heydenreich, and J. Ridge, 123–31. London: Archetype." - id: "Carò, Centeno, and Mahon 2018" full: "Carò, Federico, Silvia A. Centeno, and Dorothy Mahon. 2018. “Painting with Recycled Materials: On the Morphology of Calcite Pseudomorphs as Evidence of the Use of Wood Ash Residues in Baroque Paintings.” *Heritage Science* 6, no. 3: 1–11." - id: "Carr et al. 2003" - full: "Carr, D. J., C. R. T. Young, A. Phenix, and R. D. Hibberd. 2003. “[Development of a Physical Model of a Typical Nineteenth-Century English Canvas Painting.](http://eprints.gla.ac.uk/137157/)” [*Studies in Conservation*](http://eprints.gla.ac.uk/view/journal_volume/Studies_in_Conservation.html) 48, no. 3: 145–54." + full: "Carr, D. J., C. R. T. Young, A. Phenix, and R. D. Hibberd. 2003. “[Development of a Physical Model of a Typical Nineteenth-Century English Canvas Painting.](http://eprints.gla.ac.uk/137157/)” [*Studies in Conservation*](http://eprints.gla.ac.uk/view/journal_volume/Studies_in_Conservation.html) 48, no. 3: 145–54." - id: "Carrillo y Gariel 1946" full: "Carrillo y Gariel, Abelardo. 1946. *Técnica de la pintura en la Nueva España.* Mexico City: Universidad Nacional Autónoma de México." - id: "Carter et al. 2020" @@ -247,7 +247,7 @@ entries: - id: "Cerasuolo 2013" full: "Cerasuolo, A. 2013. “L’attività del Gabinetto Pinacologico: un’eredità misconosciuta.” In *Snodi di critica: Musei, mostre, restauro e diagnostica artistica in Italia (1930–1940)*, edited by Maria Ida Catalano, 195–223. Roma: Gangemi." - id: "Cerasuolo 2017" - full: "Cerasuolo, A. 2017. *Literature and Artistic Practice in Sixteenth-Century Italy.* Brill’s Studies in Intellectual History. Boston: E. J. Brill." + full: "Cerasuolo, A. 2017. *Literature and Artistic Practice in Sixteenth-Century Italy.* Brill’s Studies in Intellectual History. Boston: E. J. Brill." - id: "Cerasuolo 2019" full: "Cerasuolo, A. 2019. “*The Parable of the Blind* and *The Misanthrope*: Glue-tempera Technique in Bruegel’s Canvases in Capodimonte.” In *Bruegel: The Hand of the Master*: *Essays in Context,* edited by A. Hoppe-Harnoncourt, E. Oberthaler, S. Pénot, M. Sellink, and R. Spronk. Veurne, 64–77. Belgium: Hannibal." - id: "CESMAR7 2008" @@ -375,7 +375,7 @@ entries: - id: "De Dominici (1742–1743) 2003–14" full: "De Dominici, B. (1742–1743). 2003–14. *Vite de’ pittori, scultori ed architetti napoletani*. Vol. 2, edited by F. Sricchia Santoro and A. Zezza. 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Una famiglia di restauratori romani tra Ottocento e Novecento alla Galleria Borghese.” *Kermes* 26: 31–46." - id: "Dimond and Young 2003" @@ -423,7 +423,7 @@ entries: - id: "Evonik n.d." full: "Evonik. n.d. “AEROSIL and AEROPERL Colloidal Silicon Dioxide for Pharmaceuticals: Technical Information TI 1281.” Essen, Germany: Evonik Industries." - id: "Falvey 2008" - full: "Falvey, D. 2008. “The Evolution in the Lining of Paintings: To Line or Not to Line: A Preliminary Study.” In *Postprints of the Paintings Specialty Group, 2007*, edited by Helen Mar Parkin, vol. 20, 17. Washington, DC: American Institute for Conservation." + full: "Falvey, D. 2008. “The Evolution in the Lining of Paintings: To Line or Not to Line: A Preliminary Study.” In *Postprints of the Paintings Specialty Group, 2007*, edited by Helen Mar Parkin, vol. 20, 17. Washington, DC: American Institute for Conservation." - id: "Fasce and Carnasciali 2008" full: "Fasce, M., and M. Carnasciali. 2008. “Osservazione con il microscopio ottico di adesivi applicati su dipinti con supporto cellulosico.” In *L’attenzione alle superfici pittoriche, atti del congresso di Milano*, 49–53. Padova: Il Prato." - id: "Favero, Mysak, and Khandekar 2013" @@ -537,7 +537,7 @@ entries: - id: "Gridley 2017" full: "Gridley, Mary. 2017. “Notes on the Treatment of Cracks in Canvas Paintings.” In *The AIC Paintings Specialty Group Postprints, Vol. 27, 2014,* 1–19. Washington, DC: The American Institute for the Conservation of Historic and Artistic Works." - id: "Griffin, Young, and Hale 2014" - full: "[R. Refai]()Griffin, Amy, Christina Young, and Tom Hale. 2014. “‘History Is My Material.’” In *ICOM-CC 17th Triennial Conference Preprints, Melbourne, 15–19 September 2014,* edited by Janet Bridgland, art. 1305. Paris: International Council of Museums. http://eprints.gla.ac.uk/135500/." + full: "[R. Refai]()Griffin, Amy, Christina Young, and Tom Hale. 2014. “‘History Is My Material.’” In *ICOM-CC 17th Triennial Conference Preprints, Melbourne, 15–19 September 2014,* edited by Janet Bridgland, art. 1305. Paris: International Council of Museums. http://eprints.gla.ac.uk/135500/." - id: "Groen 2005" full: "Groen, Karin. 2005. “Earth Matters: The Origin of the Material Used for the Preparation of the *Night Watch* and Many Other Canvases in Rembrandt’s Workshop After 1640.” *ArtMatters: International Journal for Technical Art History* 3: 138–54. ." - id: "Grøntoft et al. 2011" @@ -627,7 +627,7 @@ entries: - id: "Hedley, Villers, and Mehra 1983" full: "Hedley, Gerry, Caroline Villers, and Vishwa R. Mehra. 1983. “Artists’ Canvases: Their History and Future.” In *Measured Opinions: Collected Papers on the Conservation of Paintings,* edited by Caroline Villers, 50–56. 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New Delhi: Allied Publishers." - id: "Hill, Norton, and Newman 2009" - full: "Hill, Callum A. S., Andrew Norton, and Gary Newman. 2009. “The Water Vapor Sorption Behavior of Natural Fibers.” *Journal of Applied Polymer Science* 112, no. 3: 1524–37. ." + full: "Hill, Callum A. S., Andrew Norton, and Gary Newman. 2009. “The Water Vapor Sorption Behavior of Natural Fibers.” *Journal of Applied Polymer Science* 112, no. 3: 1524–37. ." - id: "Hillyer 1996" full: "Hillyer, Lynda. 1996. “Lining and Backing—The Support of Paintings, Paper and Textiles: UKIC Conference, London, 7–8 November 1995.” *V&A Conservation Journal* 18: 15–16." - id: "Hilts, Ziegler, and Lumscher 1990" @@ -675,7 +675,7 @@ entries: - id: "Iaccarino Idelson 2009" full: "Iaccarino Idelson, Antonio. 2009. “About the Choice of Tension for Canvas Paintings.” *CeROArt: Les dilemmes de la restauration,* no. 4. https://doi.org/10.4000/ceroart.1269.” https://doi.org/10.4000/ceroart.1269." - id: "Iaccarino Idelson and Garofalo 2019" - full: "Iaccarino Idelson, Antonio, and Valerio Garofalo. 2019. “Aiming at Reproducibility in Lining Canvas Paintings. *CeROArt Online,* Flux 11. ." + full: "Iaccarino Idelson, Antonio, and Valerio Garofalo. 2019. “Aiming at Reproducibility in Lining Canvas Paintings. *CeROArt Online,* Flux 11. ." - id: "Ibbetson 1803" full: "Ibbetson, Julius Caesar. 1803. *An Accidence, or Gamut, of Painting in Oil and Water-Colours*. Part 1. London: Darton and Harvey." - id: "Ibrahim et al. 2010" @@ -689,7 +689,7 @@ entries: - id: "Ito 2014" full: "Ito, Yumi. 2014. “Immediate Treatment of Oil Paintings.” In *Stabilization Processing: Multi-Organizational Co-Operative Project for Preserving and Restoring Cultural Assets Damaged by Tsunami on March 1th, 2011,* 106–9, edited by Lois Lydens. Tokyo: ICOM Japan." - id: "Iurovetskaia et al. 2019" - full: "Iurovetskaia, Elena, Sofia Martyanova, Maria Churakova, and Ekaterina Morozova. 2019. “Unconventional Approach for Treating a Unique Artwork: Research and Conservation of the Painting by Unknown Artist of the 18th Century *Apotheosis of Anna Ioannovna* Created on Silk Support.” In *Research in Conservation of Cultural Heritage,* issue 5, edited by S. V. Filatov and G. I. Gerasimova, 313–18. Materials of an international scientific methodological conference. Moscow: Print, OOO." + full: "Iurovetskaia, Elena, Sofia Martyanova, Maria Churakova, and Ekaterina Morozova. 2019. “Unconventional Approach for Treating a Unique Artwork: Research and Conservation of the Painting by Unknown Artist of the 18th Century *Apotheosis of Anna Ioannovna* Created on Silk Support.” In *Research in Conservation of Cultural Heritage,* issue 5, edited by S. V. Filatov and G. I. Gerasimova, 313–18. Materials of an international scientific methodological conference. Moscow: Print, OOO." - id: "Jablonski et al. 2003" full: "Jablonski, Elizabeth, Tom Learner, James Hayes, and Mark Golden, 2003. “Conservation Concerns for Acrylic Emulsion Paints.” *Reviews in Conservation* 48, no. supp. 1: 3–12." - id: "Jeong et al. 2013" @@ -709,13 +709,13 @@ entries: - id: "Karpowicz 1989" full: "Karpowicz, Adam. 1989. “In-Plane Deformations of Films of Size on Paintings in the Glass Transition Region.” *Studies in Conservation* 34, no. 2: 67–74. ." - id: "Keck 1965" - full: "Keck, Sheldon. 1965. “The New York Conservation of a Peripatetic Portrait by John Singleton Copley.” *Connoisseur* 159, no. 640: 138–43." + full: "Keck, Sheldon. 1965. “The New York Conservation of a Peripatetic Portrait by John Singleton Copley.” *Connoisseur* 159, no. 640: 138–43." - id: "Keck 1969" full: "Keck, S. 1969. “Mechanical Alteration of Paint Films.” *Studies in Conservation*, 14, no. 1: 9–30." - id: "Keck 1977" full: "Keck, Caroline K. 1977. “Lining Adhesives: Their History, Uses, and Abuses.” *Journal of the American Institute for Conservation* 17, no. 1: 45–52." - id: "Keck and Keck 1954" - full: "Keck, Caroline, and Sheldon Keck, dir. 1954. *A Future for the Past*. Audiovisual collection, Brooklyn Museum Archives, Brooklyn, NY. Digitized from 16 mm film." + full: "Keck, Caroline, and Sheldon Keck, dir. 1954. *A Future for the Past*. Audiovisual collection, Brooklyn Museum Archives, Brooklyn, NY. Digitized from 16 mm film." - id: "Keck and Keck 1962" full: "Keck, Caroline, and Sheldon Keck, dir. 1962. *Hidden Life of a Painting*. Audiovisual collection, Brooklyn Museum Archives, Brooklyn, NY. Digitized from 16 mm film." - id: "Ketnath 1976" @@ -819,7 +819,7 @@ entries: - id: "Markevičius et al. 2013" full: "Markevičius, T., H. Meyer, K. Saborowski, N. Olsson, and R. Furferi. 2013. “Carbon Nanotubes in Art Conservation.” *International Journal of Conservation Science*, 4, special issue: 633–46." - id: "Markevičius et al. 2017" - full: "Markevičius, T., N. Olsson, R. Hegelbach, R. Furferi, H. Meyer, K. Seymour, K. Saborowski, L. Borgioli, L. Amorosi, L. Conti, R. Šimaitė, E. Kielė, S. Lenaerts, and J. 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Vienna: Wilfried Seipel." - id: "Odlyha, Chan, and Pages 1995" @@ -953,7 +953,7 @@ entries: - id: "Olin and Carter ca. 1967–1974b" full: "Olin, Charles, and Tom Carter. ca. 1967–1974. “Supplies: NCFA/NPG Cons. Lab.” Unpublished internal document, National Collection of Fine Arts, Smithsonian American Art Museum, Washington, DC." - id: "Olsson and Markevičius 2010" - full: "Olsson, N., and T. Markevičius. 2010. “Flexible Thermal Blanket and Low-Pressure Envelope System in the Structural Treatment of Paintings on Canvas.” In *Postprints of the Paintings Specialty Group, American Institute for Conservation Meeting, Milwaukee,* edited by B. Buckley, 63–71. Washington, DC: American Institute for Conservation. " + full: "Olsson, N., and T. Markevičius. 2010. “Flexible Thermal Blanket and Low-Pressure Envelope System in the Structural Treatment of Paintings on Canvas.” In *Postprints of the Paintings Specialty Group, American Institute for Conservation Meeting, Milwaukee,* edited by B. 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M. 2013. “Imaging Techniques in Conservation.” *Journal of Conservation and Museum Studies* 10, no. 2: 17–29." - id: "Pearson 2003" full: "Pearson, C. 2003. “Animal Glues and Adhesives,” In *Handbook of Adhesive Technology*. 2nd ed., edited by K. L. Mittal and A. Pizzi, 479–94. Boca Raton, FL: CRC Press." - id: "Pease 1964" @@ -1033,7 +1033,7 @@ entries: - id: "Phenix and Hedley 1993" full: "Phenix, Alan, and Gerry Hedley. 1993. “Lining without Heat or Moisture.” In *Measured Opinions: Collected Papers on the Conservation of Paintings*, edited by Caroline Villers, [TK pp. nos]. London: United Kingdom Institute for Conservation." - id: "Piotrowska and Amann 2009" - full: "Piotrowska, Kinga, and Sandra Amann. 2009. *“Minimal*-*Adhesive Mend and* *Cast In-painting: A* *Treatment of a Tear on an* *Ed Ruscha Painting*.” The AIC Paintings Specialty Group Postprints, vol. 22, edited by Barbara Buckley, Meg Newburger, and American Institute for Conservation of Historic and Artistic Works, AIC Paintings Specialty Group, 48–57. Washington, DC: AIC." + full: "Piotrowska, Kinga, and Sandra Amann. 2009. *“Minimal*-*Adhesive Mend and* *Cast In-painting: A* *Treatment of a Tear on an* *Ed Ruscha Painting*.” The AIC Paintings Specialty Group Postprints, vol. 22, edited by Barbara Buckley, Meg Newburger, and American Institute for Conservation of Historic and Artistic Works, AIC Paintings Specialty Group, 48–57. Washington, DC: AIC." - id: "Plahter 1999" full: "Plahter, L. 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René de la Rie. 2015. “Original and Reformulated BEV® 371: Composition and Assessment as a Consolidant for Painted Surfaces.” *Studies in Conservation* 60, no. 4: 217–26." - id: "Poggendorf 2015" full: "Poggendorf, Renate. 2015. “Was *Street in Åsgårdstrand and a Woman in Red Dress* by Edvard Munch restored by the artist?” In *Public Paintings by Edvard Munch and His Contemporaries: Change and Conservation Challenges,* edited by Tine Frøysaker, Noëlle L. W. Streeton, Harmut Kutzke, Françoise Hanssen-Bauer, and Biljana Topalova-Casadiego, 230–40. London: Archetype." - id: "Poleró (1853 and 1866) 2018" @@ -1051,7 +1051,7 @@ entries: - id: "Portue 1978" full: "Portue, Thomas T. 1978. *The Degradation of a Wax-Resin Adhesive: Multiwax 445 and Zonerez B-85*. Cooperstown, NY: Cooperstown Graduate Program in the Conservation of Historic and Artistic Works." - id: "Poulis, Seymour, and Mosleh 2020" - full: "Poulis, J. A., Kate Seymour, and Yasmine Mosleh. 2020. “The Influence of Loading, Temperature and Relative Humidity on Adhesives for Canvas Lining.” *IOP Conference Series: Materials Science and Engineering* 949, no. 1 (International Conference Florence Heri-Tech: The Future of Heritage Science and Technologies, 14–16 October 2020): 949 012086. https://iopscience.iop.org/article/10.1088/1757-899X/949/1/012086/meta." + full: "Poulis, J. A., Kate Seymour, and Yasmine Mosleh. 2020. “The Influence of Loading, Temperature and Relative Humidity on Adhesives for Canvas Lining.” *IOP Conference Series: Materials Science and Engineering* 949, no. 1 (International Conference Florence Heri-Tech: The Future of Heritage Science and Technologies, 14–16 October 2020): 949 012086. https://iopscience.iop.org/article/10.1088/1757-899X/949/1/012086/meta." - id: "Proctor 1994" full: "Proctor, Robert. 1994. “Repairing Tears in Canvas Paintings by a Reweaving Process.” *AIC Painting Specialty Group Postprints*: 56–60. Nashville: The American Institute for Conservation of Historic and Artistic Works." - id: "Prohaska and Swoboda 2010" @@ -1107,7 +1107,7 @@ entries: - id: "Richardson 2004" full: "Richardson, John. 2004. “Crimes against the Cubists (1983).” In *Issues in the Conservation of Paintings,* 531–38. Los Angeles: Getty Publications." - id: "Rinaldi 2004" - full: "Rinaldi, S. 2004. “Il Punteggiato Di Pietro Palmaroli: Genesi Tecnica E Teoria Cromatica.” *Studi di Storia dell'arte* 15 : 55." + full: "Rinaldi, S. 2004. “Il Punteggiato Di Pietro Palmaroli: Genesi Tecnica E Teoria Cromatica.” *Studi di Storia dell'arte* 15 : 55." - id: "Roche 1976" full: "Roche, R. 1976. “New Materials for Lining.” In *Lining of Paintings—A Reassessment: Proceedings of a Seminar Held at the National Gallery of Canada, Ottawa, April 6–8, 1976*, edited by Mervyn Ruggles, 1–5. Ottawa: National Gallery of Canada." - id: "Roche 2003" @@ -1117,7 +1117,7 @@ entries: - id: "Romanov 2013" full: "Romanov, Artyom. 2013. “Practice of Making Stretchers for Two-Sided Paintings.” *Artistic Heritage. Storage. Research. 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Kazan: Kazan University Press. http://www.gosniir.ru/file.ashx?objid=10fd34b6-8329-4b61-b39b-bf25c46f63e0." - id: "Rossi-Doria 2010" full: "Rossi-Doria, Matteo. 2010. “Diversity of Methodologies and Decision-Making Processes in the Structural Conservation of Oversize Paintings.” In *Actas Del Congreso Internacional de Restauración de pinturas sobre lienzo de gran formato* [International Congress on outsize paintings conservation], *Valencia, Spain, 2010,* edited by Susana Martín Rey, Vicente Guerola Blay, and María Castell Agust, [TK pp. nos.]. València: Universitat Politècnica de València." - id: "Rossi-Doria 2013" @@ -1165,7 +1165,7 @@ entries: - id: "Schiessl 1983" full: "Schiessl, Ulrich 1983. “Das Leinwandgemälde auf der starren Platte.” *Maltechnik Restauro* 89, no. 4: 233–49." - id: "Schlotter 2009" - full: "Schlotter, A. 2009. *Het plafondstuk op doek
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Agnelli." - id: "Semechkina 1993" - full: "Semechkina, Elena. 1993. “Techniques of Applying Acrylic Polymer A-45K on the Lining Cloth and Their Effectiveness.” In *Sculpture: Applied Arts: Conservation: Research*, edited by N. N. Bankovskiy, T. I Barabanova, 122–26. Moscow: VHNRC." + full: "Semechkina, Elena. 1993. “Techniques of Applying Acrylic Polymer A-45K on the Lining Cloth and Their Effectiveness.” In *Sculpture: Applied Arts: Conservation: Research*, edited by N. N. Bankovskiy, T. I Barabanova, 122–26. Moscow: VHNRC." - id: "Seymour and Strombek 2022" full: "Seymour, Kate, and Joanna Strombek. 2022. *The Mist-Lining Handbook*. E-book. Maastricht: Stichting Restauratie Atelier Limburg." - id: "Seymour and van Och 2005" @@ -1201,9 +1201,9 @@ entries: - id: "Smith 1965" full: "Smith, Thor L. 1965. “Deformation and Failure of Plastics and Elastomers,” *Polymer Engineering and Science* 5, no. 4: 270–79." - id: "Smith, Thompson, and Hermans 2016" - full: "Smith, Margaret J., K. Thompson, and E. Hermens. 2016. “Breaking Down Banners: Analytical Approaches to Determining the Materials of Painted Banners.” *Heritage Science* 4: 23. http://eprints.gla.ac.uk/116762/." + full: "Smith, Margaret J., K. Thompson, and E. Hermens. 2016. “Breaking Down Banners: Analytical Approaches to Determining the Materials of Painted Banners.” *Heritage Science* 4: 23. http://eprints.gla.ac.uk/116762/." - id: "Smith, Holmes-Smith, and Lennard 2019" - full: "Smith, Margaret J., A. Sheila Holmes-Smith, and Frances Lennard. 2019. “Development of Non-destructive Methodology Using ATR-FTIR with PCA to Differentiate between Historical Pacific Barkcloth.” *Journal of Cultural Heritage* 39: 32–41. http://eprints.gla.ac.uk/182259/." + full: "Smith, Margaret J., A. Sheila Holmes-Smith, and Frances Lennard. 2019. “Development of Non-destructive Methodology Using ATR-FTIR with PCA to Differentiate between Historical Pacific Barkcloth.” *Journal of Cultural Heritage* 39: 32–41. http://eprints.gla.ac.uk/182259/." - id: "Soppa 2018" full: "Soppa, Karolina. 2018. “Die Klebung von Malschicht und textilem Bildträger. 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Kazan: Kazan University Press. ." + full: "Voronina, Marina. 2019. “Developing Individual Method and Conservation of the Painting from State Historical Museum *Portrait of Duke B. A. Golitsyn*.” In *Materials of all-Russian Scientific and Practical Conference “RESCON-2019*,” edited by S. G Burshneva, 120–24. Kazan: Kazan University Press. ." - id: "Wågberg and Bjőrklund 1993" full: "Wågberg, L. and M. Bjőrklund. 1993. “On the Mechanism behind Wet Strength Development in Papers Containing Wet Strength Resins.” *Nordic Pulp and Paper Research Journal* 8, no. 1: 53–58. ." - id: "Walde, Wernitznig, and Oberthaler 2014" @@ -1379,7 +1379,7 @@ entries: - id: "Wunderlich 2010" full: "Wunderlich, Uli. 2010. “Mors certa, Hora incerta—vom Totentanz auf dem Friedhof: Die Entstehung der makabren Kunst aus der Abneigung der Kirche gegen «heidnische» Feiern am Grab.” *Kunst + Architektur in der Schweiz* 61, no. 3: 46–55. https://www.yumpu.com/de/document/read/43131435/mors-certa-hora-incerta-a-vom-totentanz-auf-dem-friedhof/11." - id: "Xu et al. 2019" - full: "Xu, Liyun, Jiawen Deng, Ying Guo, Wei Wang, Ruiyun Zhang, and Jianyong Yu. 2019. “Fabrication of Super-hydrophobic Cotton Fabric by Low-Pressure Plasma-Enhanced Chemical Vapor Deposition.” *Textile Research Journal* 89, no. 10: 1853–62." + full: "Xu, Liyun, Jiawen Deng, Ying Guo, Wei Wang, Ruiyun Zhang, and Jianyong Yu. 2019. “Fabrication of Super-hydrophobic Cotton Fabric by Low-Pressure Plasma-Enhanced Chemical Vapor Deposition.” *Textile Research Journal* 89, no. 10: 1853–62." - id: "Xu et al. 2020" full: "Xu, Q., G. Poggi, C. Resta, M. Baglioni, and P. Baglioni. 2020. “Grafted Nanocellulose and Alkaline Nanoparticles for the Strengthening and Deacidification of Cellulosic Artworks.” *Journal of Colloid and Interface Science* 576: 147–57. ." - id: "Yabrova 1975" @@ -1389,21 +1389,21 @@ entries: - id: "Yashkina and Churakova 2013" full: "Yashkina, Larisa, and Maria Churakova. 2013. “Methods of Tear Mending, Filling Losses in Canvas and Edges on Easel Oil Paintings by Jointing Threads: 1978–2008.” In *Artistic Heritage: Storage, Research, Restoration* 27 (57). https://www.gosniir.ru/files/62be0cd4-5394-4e5c-a488-9bf3d212e1ef.epub." - id: "Young 1996" - full: "Young, Christina. 1996. “Biaxial Properties of Sized Cotton-Duck.” In *ICOM Committee for Conservation 11th Triennial Meeting, Edinburgh 1–6 September 1996*, 322–31. London: James & James. http://eprints.gla.ac.uk/137319/." + full: "Young, Christina. 1996. “Biaxial Properties of Sized Cotton-Duck.” In *ICOM Committee for Conservation 11th Triennial Meeting, Edinburgh 1–6 September 1996*, 322–31. London: James & James. http://eprints.gla.ac.uk/137319/." - id: "Young 1999" full: "Young, Christina. 1999. “Towards a Better Understanding of the Physical Properties of Lining Materials for Paintings: Interim Results.” *The Conservator* 23, no. 1: 83–91." - id: "Young 2003" - full: "Young, Christina. 2003. “The Mechanical Requirements of Tear Mends.” In *Alternatives to Lining: Structural Treatment of Paintings on Canvas without Lining: A Conference Held Jointly by the British Association of Paintings Conservator-Restorers and the United Kingdom Institute for Conservation Paintings Section, 19 September 2003: Preprints*, edited by Mary Bustin and Tom Caley, 55–58. London: United Kingdom Institute for Conservation." + full: "Young, Christina. 2003. “The Mechanical Requirements of Tear Mends.” In *Alternatives to Lining: Structural Treatment of Paintings on Canvas without Lining: A Conference Held Jointly by the British Association of Paintings Conservator-Restorers and the United Kingdom Institute for Conservation Paintings Section, 19 September 2003: Preprints*, edited by Mary Bustin and Tom Caley, 55–58. London: United Kingdom Institute for Conservation." - id: "Young 2005" full: "Young, Christina. 2005. “Accelerated Aging of Fabric Supports: Is It Possible?” In *Scientific Analysis of Ancient and Historic Textiles: Informing Preservation, Display and Interpretation: Postprints*, edited by Rob Janaway and Paul Wyeth, 111–17. London: Archetype." - id: "Young 2012" - full: "Young, Christina. 2012. “History of Fabric Supports.” In *Conservation of Easel Paintings,* edited by J. H. Stoner and R. A. Rushfield, 116–47. Abingdon-on-Thames, UK: Routledge." + full: "Young, Christina. 2012. “History of Fabric Supports.” In *Conservation of Easel Paintings,* edited by J. H. Stoner and R. A. Rushfield, 116–47. Abingdon-on-Thames, UK: Routledge." - id: "Young 2013" - full: "Young, Christina. 2013. “The Use of 3D ESPI for the Structural Analysis of Paintings on Canvas.” In *LACONA IX: Lasers in the Conservation of Artworks*, edited by David Saunders, Matija Strlič, Capucine Korenberg, Naomi Luxford, and Karen Birkhölzer, 108–15. London: Archetype." + full: "Young, Christina. 2013. “The Use of 3D ESPI for the Structural Analysis of Paintings on Canvas.” In *LACONA IX: Lasers in the Conservation of Artworks*, edited by David Saunders, Matija Strlič, Capucine Korenberg, Naomi Luxford, and Karen Birkhölzer, 108–15. London: Archetype." - id: "Young and Ackroyd 2001" - full: "Young, Christina, and Paul Ackroyd. 2001. “The Mechanical Behavior and Environmental Response of Paintings to Three Types of Lining Treatment.” *National Gallery Technical Bulletin* 22: 85–104." + full: "Young, Christina, and Paul Ackroyd. 2001. “The Mechanical Behavior and Environmental Response of Paintings to Three Types of Lining Treatment.” *National Gallery Technical Bulletin* 22: 85–104." - id: "Young and Hibberd 1999" - full: "Young, Christina R. T., and Roger D. Hibberd. 1999. “Biaxial Tensile Testing of Paintings on Canvas.” *Studies in Conservation* 44, no. 2: 129–41." + full: "Young, Christina R. T., and Roger D. Hibberd. 1999. “Biaxial Tensile Testing of Paintings on Canvas.” *Studies in Conservation* 44, no. 2: 129–41." - id: "Young and Hibberd 2000" full: "Young, Christina R. T., and Roger D. Hibberd. 2000. “The Role of Attachments in the Degradation and Strain Distribution of Canvas Paintings.” In *Tradition and Innovation: Advances in Conservation*, edited by Ashok Roy and Perry Smith, 212–20. London: International Institute for Conservation of Historic and Artistic Works." - id: "Young, Hibberd, and Ackroyd 2002" @@ -1411,9 +1411,9 @@ entries: - id: "Young and Jardine 2012" full: "Young, Christina, and Suzanne Jardine. 2012. “Fabrics for the Twenty-First Century: As Artist Canvas and for the Structural Reinforcement of Easel Paintings on Canvas.” *Studies in Conservation* 57, no. 4: 237–53." - id: "Yushkevich 1995" - full: "Yushkevich, Galina. 1995. “Repairing the Mechanical Damages on Easel Oil Paintings on Canvas Without Lining.” In *Reposts of the State Tretyakov Gallery: Art of the Second Part of the 19th–20th Centuries: Issues on Conservation and Museology*, edited by L. I. Iovleva, 176–81. Moscow: State Tretyakov Gallery." + full: "Yushkevich, Galina. 1995. “Repairing the Mechanical Damages on Easel Oil Paintings on Canvas Without Lining.” In *Reposts of the State Tretyakov Gallery: Art of the Second Part of the 19th–20th Centuries: Issues on Conservation and Museology*, edited by L. I. Iovleva, 176–81. Moscow: State Tretyakov Gallery." - id: "Yurovetskaya 2016" - full: "Yurovetskaya, Anastasia. 2016. “Application of the Techniques of the State Research Institute for Restoration on the Example of Structural Conservation of the Painting *Portrait of a Woman in Black* from the Collection of I. Mashkov Fine Art Museum in Volgograd.” In *Materials of the 3rd International Scientific and Practical Seminar: The Preservation of Cultural Heritage: The Scientific Study and Conservation of 17th–19th Century Dutch and Flemish Painting, 8–12 June 2015*, edited by A. Chernyavskaya, E. Reutova, I. Simonova, B. Vermet, 144–52. Amsterdam: Maarten Spruyt." + full: "Yurovetskaya, Anastasia. 2016. “Application of the Techniques of the State Research Institute for Restoration on the Example of Structural Conservation of the Painting *Portrait of a Woman in Black* from the Collection of I. Mashkov Fine Art Museum in Volgograd.” In *Materials of the 3rd International Scientific and Practical Seminar: The Preservation of Cultural Heritage: The Scientific Study and Conservation of 17th–19th Century Dutch and Flemish Painting, 8–12 June 2015*, edited by A. Chernyavskaya, E. Reutova, I. Simonova, B. Vermet, 144–52. Amsterdam: Maarten Spruyt." - id: "Zavala Cabello 2013" full: "Zavala Cabello, Mónica Marisol. 2013. *La paleta del pintor novohispano. Los pigmentos y la representación del color.* Master’s diss., Universidad Nacional Autónoma de México, Mexico City." - id: "Zawadzki et al. 2012"