Delamination of oil paints from acrylic grounds

Many modern artists paint in oil or oil-modified alkyd paints over acrylic grounds. In some cases the oil based paints do not remain adhered to the ground. In a set of composite samples of oil or alkyd paints, over acrylic grounds, naturally aged for nine years, some of the samples delaminated. Samples were analyzed with X-ray fluorescence (XRF), inductively coupled plasma (ICP), Fourier transform infrared - attenuated total reflectance (FTIR-ATR), scanning electron microscopy (SEM), pyrolysis gas-chromatography mass-spectrometry (PY-GC/MS), laser desorption/ionization mass-spectrometry (LDI-MS), atomic force microscopy (AFM) and other methods, in order to find what the delaminating ones have in common. In addition, two examples of severely delaminating paintings were examined, to confirm the results from the laboratory-prepared samples. Results indicate the main cause of delamination is metal soaps in the oil paint and particularly zinc soaps. There is some evidence that metal soaps were more concentrated at the interface between the layers and this disrupted the adhesion. The ground is a minor consideration as well, rougher grounds providing better adhesion than smooth ones.

Correlating Additives to Deterioration and Assessing the Effectiveness of Acrylic Coatings for the Protection of Rubber

Conservators have long been aware of the problems associated with the preservation of rubber objects due to inherent instability that can be attributed, in part, to the presence of additives. Inorganic additives, such as fillers, accelerators, stabilizers, and special ingredients are necessary in manufacturing to alter the properties of natural rubber. These materials all have different interactions with the rubber, and each other, and differing effects on the ageing process. To date, the most effective and accepted methods to preserve rubber are cold, dark storage of objects, or the use of low oxygen environments. While these methods are effective, they greatly limit access. The application of coatings to the surface of rubber objects can slow deterioration and greatly increase the ability of an institution to handle and display rubber objects. While numerous coatings for preventive and interventive treatment have been tested, none have been so successful to warrant routine use. The first section of this research highlighted the relationship between the inclusion of certain additives in natural rubber objects and the accelerated or slowed down overall degradation. In the second part of this research, the acrylic varnishes Golden Polymer Varnish with UVLS, Lascaux Acrylic Transparent Varnish-UV, Sennelier Matte Lacquer with UV Protection, and Liquitex Soluvar Varnish containing ultraviolet light absorbers or stabilizers were tested as a preventative coating for rubber. Through testing the visual and physical properties of the samples, as well as compound analysis the results of this research suggest that acrylic varnishes do provide protection, each to varying degrees. The results also provided insight into the behavior of rubber and these varnishes with continuing light exposure.

CHARACTERIZATION OF FILLING MATERIALS FOR EASEL PAINTINGS

Developing appropriate treatments for easel paintings can be complex, as many works are composed of various materials that respond in different ways. When selecting a filling material for these artworks, several properties are investigated including: the need for the infill to react to environmental conditions in a similar manner as the original material; the need for the infill to have good handling properties, adhesion to the original support, and cohesion within the filling material; the ability for the infill to withstand the stress of the surrounding material and; be as flexible as the original material to not cause further damage. Also, changes in colour or mechanical properties should not occur as part of the ageing process. Studies are needed on acrylic-based materials used as infills in conservation treatments. This research examines some of the chemical, physical, and optical changes of eleven filling materials before and after ageing, with the aim to evaluate the overall appropriateness of these materials as infills for easel paintings. The materials examined were three rabbit skin glue (RSG) gessoes, and seven commercially prepared acrylic materials, all easily acquired in North America. Chemical analysis was carried out with Fourier transform infrared (FTIR) spectroscopy and X-ray fluorescence (XRF), pyrolysis gas chromatography-mass spectroscopy (Py-GC/MS), and differential scanning calorimetry (DSC). Overall the compositions of the various materials examined were found to be in agreement with the available literature and previous research. This study also examined characteristics of these materials not described in previous works and, additionally, presented the compositions and behaviour of several commonly used materials with little literature description. After application of an ageing regimen, most naturally aged and artificially aged samples displayed small changes in gloss, colour, thickness, and diffusive behaviour; however, to evaluate these materials fully mechanical testing and environmental studies should be carried out.