New Insights into the Cleaning of Paintings

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164 • smithsonian contributions to museum conservation FIGURE 5. From left to right, detail of a soiled Talens titanium white paint film, deionized water droplet placed onto the soiling layer, dried water droplet two days later, and the same section after swabbing with water, demonstrating that the water droplet helped embed the soiling into the paint film, making it harder to clean. © Tate 2010. acrylic dispersion paints and whether migrated surfactant is actually present. Acknowledgments The authors thank Alexia Soldano, Patricia Smithen, Rachel Barker, Laura Mills, and Lise Chantrier Aasen of Tate, London; Simone Musso, formerly of Politecnico di Torino, Turin, Italy; Grazia de Cesare of the Istituto Centrale per il Restauro; Alex Ball of the Natural History Museum, London; and AXA Art Insurance (http://www.axa- art.co.uk) for funding the TAAMPP research at Tate from 2006 to 2009. REFERENCES Croll, S. 2007. “Overview of Developments in the Paint Industry since 1930.” In Modern Paints Uncovered: Proceedings of the Modern Paints Uncovered Symposium, ed. T. Learner, P. Smithen, J. W. Krueger, and M. R. Schilling, pp. 17–29. Los Angeles: The Getty Conservation Institute. De Cesare, G., P. Iazurlo, F. Capanna, and M. Coladonato. 2009. “The ‘Patina’ of the Acrylic- Vinyl Emulsion Paintings.” In Art Today, Cultural Properties of Tomorrow. The Conservation and Restoration of Contemporary Artwork. Proceedings of the SF- IIC Conference, ed. M. Stefanaggi and R. Hocquette, p. 343. Paris: Institut National du Patrimoine. Golden Artist Colors. 2001. Conservation of Acrylic Paintings. Just Paint, 9:1–10. Learner, T., and B. Ormsby. 2009. “Cleaning Acrylic Emulsion Paints: Putting Research into Context.” In Art Today, Cultural Properties of Tomorrow. The Conservation and Restoration of Contemporary Artwork. Proceedings of the SF- IIC Conference, ed. M. Stefanaggi and R. Hocquette, pp. 193–199. Paris: Institut National du Patrimoine. Ormsby, B. 2010. Tate AXA Art Modern Paints Project (TAAMPP): 2006–2009 Research Summary. http://www.tate.org.uk/download/file/fid/4480 (accessed 13 November 2012). Ormsby, B., E. Hagan, P. Smithen, and T. Learner. 2008a. “Comparing Contemporary Titanium White- Based Acrylic Emulsion Grounds and Paints: Characterization, Properties and Conservation.” In Preparation for Painting: The Artists’ Choice and Its Consequences, ed. J. H. Townsend, T. Doherty, G. Heydenreich, and J. Ridge, pp. 163–171. London: Archetype. Ormsby, B., E. Kampasakali, C. Miliani, and T. Learner. 2009. An FTIR- Based Exploration of the Effects of Wet Cleaning Artists’ Acrylic Emulsion Paints. e- Preservation Science, 6:186–195. Ormsby, B., and T. Learner. 2009. The Effects of Wet Surface Cleaning Treatments on Acrylic Emulsion Artists’ Paints—A Review of Recent Scientific Research. Reviews in Conservation, 10:29–41. Ormsby, B., T. Learner, G. Foster, J. Druzik, and M. Schilling. 2007. “Wet- Cleaning Acrylic Emulsion Paint Films: An Evaluation of Physical, Chemical and Optical Changes.” In Modern Paints Uncovered: Proceedings of the Modern Paints Uncovered Symposium, ed. T. Learner, P. Smithen, J. W. Krueger, and M. R. Schilling, pp. 187–198. Los Angeles: The Getty Conservation Institute. Ormsby, B., and A. Phenix. 2009. Cleaning Acrylic Emulsion Paintings. Conservation Perspectives: The GCI Newsletter, 24:2. http://www.getty.edu/conservation/ publications/newsletters/24_2/cleaning.html (accessed 13 November 2012). Ormsby, B., P. Smithen, F. Hoogland, T. Learner, and C. T. Miliani. 2008b. “A Scientific Investigation into the Surface Cleaning of Acrylic Emulsion Paintings.” In Preprints ICOM- CC 15th Triennial Conference, New Delhi, ed. J. Bridgland, Volume 2, pp. 857–865. New Dehli: Allied Publishers.

Extended Abstract—Effects of Solvents on the Physical Properties of Polymeric Films Mareike Opeña and Elisabeth Jägers INTRODUCTION Mareike Opeña, Contemporary Conservation Ltd., 460 West 4th Street, 3rd Floor, New York, New York 10001, USA. Elisabeth Jägers, Cologne Institute for Conservation Sciences, Ubierring 40, 50678 Cologne, Germany. Correspondence: Mareike Opeña, mareike.opena@gmail.com; Elisabeth Jägers, e- e.jaegers@t- online.de. Manuscript received 19 November 2010; accepted 24 August 2012. Solvents are used for many purposes in the conservation field. The conservation professional standard recommends using solvents of the highest purity to enable reaction predictability and avoid possible harmful residues (Lorenz, 1998). Solubility parameters explain why solutions show different qualities, depending on the affinity between solvent and polymer (Feller et al., 1985). It is assumed that each solvent leaves the polymer in a certain molecular arrangement, with more or less inner equilibrium, leading to different mechanical properties that may reflect physical aging reactions (Hansen et al., 1991). In a “good solution” the molecules are fully unfolded, and each functional group along the polymer chain is occupied by the corresponding functional group of a solvent. In a “poor solution” some parts of the polymer molecule remain entangled. These molecular arrangements persist through the drying process, even exceeding the no- flow point. They become an immanent part of the film (Hansen et al., 1991). A dried film from a good solution appears smooth, with an even molecular chain interaction of the many different molecules, whereas a poor film appears inconsistent and porous, with a rough (matte) surface (McGlinchey, 1993; Menck- Schaa et al., 2008). In particular, the evaporation time of a solvent seems to influence the quality of the formed film (Feller et al., 1985). The faster a solvent leaves the freshly applied wet film, the sooner the molecules will lose their chain mobility (Marrion, 1994). They are thus hindered from building an inner equilibrium of charges and free volume (Schilling, 1988), which leaves a fragile film prone to physical aging reactions (Brydson, 1999). To assess the effect of solvents on the film- building quality of polymers, a thermal analysis study was undertaken. The aim of this paper is to foster research in this very important and underestimated aspect of solvent use in conservation. MATERIALS AND METHODS Four materials, Paraloid B72, Laropal A81, MS2A, and Regalrez 1094, were chosen, and each was dissolved in six to seven solutions at 20% by weight in various solvents (Table 1). The films were applied to smooth glass surfaces with a film thickness of 60 mm. After eight months of drying, the samples were analyzed by thermal analysis. Since the only

164 • smithsonian contributions to museum conservation<br />

FIGURE 5. From left to right, detail <strong>of</strong> a soiled Talens titanium white paint film, deionized water droplet placed onto <strong>the</strong> soiling layer, dried<br />

water droplet two days later, and <strong>the</strong> same section after swabbing with water, demonstrating that <strong>the</strong> water droplet helped embed <strong>the</strong> soiling<br />

<strong>into</strong> <strong>the</strong> paint film, making it harder to clean. © Tate 2010.<br />

acrylic dispersion paints and whe<strong>the</strong>r migrated surfactant is actually<br />

present.<br />

Acknowledgments<br />

The authors thank Alexia Soldano, Patricia Smi<strong>the</strong>n, Rachel<br />

Barker, Laura Mills, and Lise Chantrier Aasen <strong>of</strong> Tate, London;<br />

Simone Musso, formerly <strong>of</strong> Politecnico di Torino, Turin, Italy;<br />

Grazia de Cesare <strong>of</strong> <strong>the</strong> Istituto Centrale per il Restauro; Alex<br />

Ball <strong>of</strong> <strong>the</strong> Natural History Museum, London; and AXA Art<br />

Insurance (http://www.axa- art.co.uk) for funding <strong>the</strong> TAAMPP<br />

research at Tate from 2006 to 2009.<br />

REFERENCES<br />

Croll, S. 2007. “Overview <strong>of</strong> Developments in <strong>the</strong> Paint Industry since 1930.” In<br />

Modern Paints Uncovered: Proceedings <strong>of</strong> <strong>the</strong> Modern Paints Uncovered<br />

Symposium, ed. T. Learner, P. Smi<strong>the</strong>n, J. W. Krueger, and M. R. Schilling, pp.<br />

17–29. Los Angeles: The Getty Conservation Institute.<br />

De Cesare, G., P. Iazurlo, F. Capanna, and M. Coladonato. 2009. “The ‘Patina’<br />

<strong>of</strong> <strong>the</strong> Acrylic- Vinyl Emulsion <strong>Paintings</strong>.” In Art Today, Cultural Properties<br />

<strong>of</strong> Tomorrow. The Conservation and Restoration <strong>of</strong> Contemporary Artwork.<br />

Proceedings <strong>of</strong> <strong>the</strong> SF- IIC Conference, ed. M. Stefanaggi and R. Hocquette,<br />

p. 343. Paris: Institut National du Patrimoine.<br />

Golden Artist Colors. 2001. Conservation <strong>of</strong> Acrylic <strong>Paintings</strong>. Just Paint, 9:1–10.<br />

Learner, T., and B. Ormsby. 2009. “<strong>Cleaning</strong> Acrylic Emulsion Paints: Putting Research<br />

<strong>into</strong> Context.” In Art Today, Cultural Properties <strong>of</strong> Tomorrow. The<br />

Conservation and Restoration <strong>of</strong> Contemporary Artwork. Proceedings <strong>of</strong> <strong>the</strong><br />

SF- IIC Conference, ed. M. Stefanaggi and R. Hocquette, pp. 193–199. Paris:<br />

Institut National du Patrimoine.<br />

Ormsby, B. 2010. Tate AXA Art Modern Paints Project (TAAMPP): 2006–2009<br />

Research Summary. http://www.tate.org.uk/download/file/fid/4480 (accessed<br />

13 November 2012).<br />

Ormsby, B., E. Hagan, P. Smi<strong>the</strong>n, and T. Learner. 2008a. “Comparing Contemporary<br />

Titanium White- Based Acrylic Emulsion Grounds and Paints: Characterization,<br />

Properties and Conservation.” In Preparation for Painting: The<br />

Artists’ Choice and Its Consequences, ed. J. H. Townsend, T. Doherty, G. Heydenreich,<br />

and J. Ridge, pp. 163–171. London: Archetype.<br />

Ormsby, B., E. Kampasakali, C. Miliani, and T. Learner. 2009. An FTIR- Based<br />

Exploration <strong>of</strong> <strong>the</strong> Effects <strong>of</strong> Wet <strong>Cleaning</strong> Artists’ Acrylic Emulsion Paints.<br />

e- Preservation Science, 6:186–195.<br />

Ormsby, B., and T. Learner. 2009. The Effects <strong>of</strong> Wet Surface <strong>Cleaning</strong> Treatments<br />

on Acrylic Emulsion Artists’ Paints—A Review <strong>of</strong> Recent Scientific Research.<br />

Reviews in Conservation, 10:29–41.<br />

Ormsby, B., T. Learner, G. Foster, J. Druzik, and M. Schilling. 2007. “Wet- <strong>Cleaning</strong><br />

Acrylic Emulsion Paint Films: An Evaluation <strong>of</strong> Physical, Chemical and Optical<br />

Changes.” In Modern Paints Uncovered: Proceedings <strong>of</strong> <strong>the</strong> Modern Paints<br />

Uncovered Symposium, ed. T. Learner, P. Smi<strong>the</strong>n, J. W. Krueger, and M. R.<br />

Schilling, pp. 187–198. Los Angeles: The Getty Conservation Institute.<br />

Ormsby, B., and A. Phenix. 2009. <strong>Cleaning</strong> Acrylic Emulsion <strong>Paintings</strong>. Conservation<br />

Perspectives: The GCI <strong>New</strong>sletter, 24:2. http://www.getty.edu/conservation/<br />

publications/newsletters/24_2/cleaning.html (accessed 13 November 2012).<br />

Ormsby, B., P. Smi<strong>the</strong>n, F. Hoogland, T. Learner, and C. T. Miliani. 2008b. “A Scientific<br />

Investigation <strong>into</strong> <strong>the</strong> Surface <strong>Cleaning</strong> <strong>of</strong> Acrylic Emulsion <strong>Paintings</strong>.” In<br />

Preprints ICOM- CC 15th Triennial Conference, <strong>New</strong> Delhi, ed. J. Bridgland,<br />

Volume 2, pp. 857–865. <strong>New</strong> Dehli: Allied Publishers.

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