Peel testing can assist in determining the suitability of a lining-adhesive system. This paper de... more Peel testing can assist in determining the suitability of a lining-adhesive system. This paper describes peel testing of wax- resin and Beva 371 lining adhesives with various lining supports. Wax-resin bond strengths with untreated lining supports ranged between 715 N/m and 67 N/m and were mainly dependent on the surface texture of the lining material. BEVA bond strengths with untreated lining supports ranged between 1476 N/m and 211 N/m. Repeat BEVA samples, prepared at a later date, but as similarly as possible to earlier samples, had different bond strengths. Thus, small differences in preparation and lining conditions produced major differences in peel strength. The effect of pre-treatment of selected lining supports is discussed. Studies on the effect of peel configuration, peel rate and ageing on peel strength are mentioned. It is recommended that peel tests be used only as guidelines rather than absolute quantitative measurements, as small differences in procedure can produce...
The Fine Arts Laboratory and Scientific Services at the Canadian Conservation Institute have init... more The Fine Arts Laboratory and Scientific Services at the Canadian Conservation Institute have initiated a project to investigate alternatives available for the lining of paintings. The goal of the project is the identification of a range of suitable lining support systems, with defined physical and mechanical properties, which will minimize stress development in a painting. The project is divided into 4 stages: Mechanical Testing of Model Paintings; Peel Testing of Lining Adhesives; Testing of the Mechanical Properties of Lining Supports; and Testing of Lined-Model Paintings. The first phase of the project is nearing completion. The prepared samples include combinations of linen canvas, glue size, oil and acrylic grounds, and oil paint. The samples are mounted in uni-axial restraining devices which permit measurement of stress relaxation over the long term, stress with applied strain, and stress as a function of Relative Humidity (RH). Measurements also included weight change, and fr...
This paper describes the historical development of conservation in the Western world, and how the... more This paper describes the historical development of conservation in the Western world, and how the philosophical approach to conservation has evolved through time. In the past, conservation/restoration has been very different from what it is today, and the profession has evolved slowly. Until the work of art was respected as an historical document, repainting and alteration was common and accepted. The aim of restoration was not to preserve the original work of art; the emphasis was on renewing or improving the work. With the beginning of the large public collections in the 18th century, restoration activity increased and became better organized. Restoration ws undertaken by restorers, rather than artists, but it was the treatment itself that was important, not the actual needs of the painting. Conservation in the 20th century has been marked by change and development. This paper discusses the growth of in-house conservation, the development of an international network of conservator...
Alex Colville's Horse and Train makes a tremendous impact on the viewer. Its unsettling juxta... more Alex Colville's Horse and Train makes a tremendous impact on the viewer. Its unsettling juxtaposition of a horse galloping towards an oncoming train, combined with the precision of the artist's technique, causes it to linger in the memory of those who have seen either the painting itself or reproductions of the image. A recent technical examination of the work and the opportunity to study and discuss it with the artist have resulted in a better understanding of its appearance, technique and condition. The painting required only minimal treatment. A light surface cleaning resulted in a more even and heightened gloss to the surface. Inpainting of minor abrasions and of the drying cracks around the headlamp, aimed at reducing the visibility of the light ground, was undertaken with the artist's permission.
Journal of the Canadian Association of …, Jan 1, 1999
Technical examination of an oil painting on canvas attributed to Louis Dulongpré has provided ins... more Technical examination of an oil painting on canvas attributed to Louis Dulongpré has provided insight into the nature of the ground layer responsible for the poor condition of the work. The paint and ground layers exhibited extensive cracking, cleavage, cupping, and loss throughout. Cross sections from several areas of the painting were examined, and components were identified using a combination of x-ray microanalysis, x-ray diffraction, Fourier transform infrared spectroscopy, and polarized light microscopy. The examination showed that three distinct ground layers were applied to the canvas before the portrait was painted. Cross sections and x-radiographs provided evidence that these ground layers had cracked even before the application of the paint layers. The first ground layer applied to the canvas was found to be composed of starch, protein, gypsum, and a red iron oxide pigment. The presence of a high concentration of starch granules in this layer indicated that the material was not heated sufficiently to form a paste. This explains the lack of cohesion within the ground layer and the ensuing cracking and cleavage. Although the use of pigmented, starch-based preparatory layers is mentioned in documentary sources, this type of ground has rarely been identified in a painting.
Peel testing can assist in determining the suitability of a lining-adhesive system. This paper de... more Peel testing can assist in determining the suitability of a lining-adhesive system. This paper describes peel testing of wax- resin and Beva 371 lining adhesives with various lining supports. Wax-resin bond strengths with untreated lining supports ranged between 715 N/m and 67 N/m and were mainly dependent on the surface texture of the lining material. BEVA bond strengths with untreated lining supports ranged between 1476 N/m and 211 N/m. Repeat BEVA samples, prepared at a later date, but as similarly as possible to earlier samples, had different bond strengths. Thus, small differences in preparation and lining conditions produced major differences in peel strength. The effect of pre-treatment of selected lining supports is discussed. Studies on the effect of peel configuration, peel rate and ageing on peel strength are mentioned. It is recommended that peel tests be used only as guidelines rather than absolute quantitative measurements, as small differences in procedure can produce...
The Fine Arts Laboratory and Scientific Services at the Canadian Conservation Institute have init... more The Fine Arts Laboratory and Scientific Services at the Canadian Conservation Institute have initiated a project to investigate alternatives available for the lining of paintings. The goal of the project is the identification of a range of suitable lining support systems, with defined physical and mechanical properties, which will minimize stress development in a painting. The project is divided into 4 stages: Mechanical Testing of Model Paintings; Peel Testing of Lining Adhesives; Testing of the Mechanical Properties of Lining Supports; and Testing of Lined-Model Paintings. The first phase of the project is nearing completion. The prepared samples include combinations of linen canvas, glue size, oil and acrylic grounds, and oil paint. The samples are mounted in uni-axial restraining devices which permit measurement of stress relaxation over the long term, stress with applied strain, and stress as a function of Relative Humidity (RH). Measurements also included weight change, and fr...
This paper describes the historical development of conservation in the Western world, and how the... more This paper describes the historical development of conservation in the Western world, and how the philosophical approach to conservation has evolved through time. In the past, conservation/restoration has been very different from what it is today, and the profession has evolved slowly. Until the work of art was respected as an historical document, repainting and alteration was common and accepted. The aim of restoration was not to preserve the original work of art; the emphasis was on renewing or improving the work. With the beginning of the large public collections in the 18th century, restoration activity increased and became better organized. Restoration ws undertaken by restorers, rather than artists, but it was the treatment itself that was important, not the actual needs of the painting. Conservation in the 20th century has been marked by change and development. This paper discusses the growth of in-house conservation, the development of an international network of conservator...
Alex Colville's Horse and Train makes a tremendous impact on the viewer. Its unsettling juxta... more Alex Colville's Horse and Train makes a tremendous impact on the viewer. Its unsettling juxtaposition of a horse galloping towards an oncoming train, combined with the precision of the artist's technique, causes it to linger in the memory of those who have seen either the painting itself or reproductions of the image. A recent technical examination of the work and the opportunity to study and discuss it with the artist have resulted in a better understanding of its appearance, technique and condition. The painting required only minimal treatment. A light surface cleaning resulted in a more even and heightened gloss to the surface. Inpainting of minor abrasions and of the drying cracks around the headlamp, aimed at reducing the visibility of the light ground, was undertaken with the artist's permission.
Journal of the Canadian Association of …, Jan 1, 1999
Technical examination of an oil painting on canvas attributed to Louis Dulongpré has provided ins... more Technical examination of an oil painting on canvas attributed to Louis Dulongpré has provided insight into the nature of the ground layer responsible for the poor condition of the work. The paint and ground layers exhibited extensive cracking, cleavage, cupping, and loss throughout. Cross sections from several areas of the painting were examined, and components were identified using a combination of x-ray microanalysis, x-ray diffraction, Fourier transform infrared spectroscopy, and polarized light microscopy. The examination showed that three distinct ground layers were applied to the canvas before the portrait was painted. Cross sections and x-radiographs provided evidence that these ground layers had cracked even before the application of the paint layers. The first ground layer applied to the canvas was found to be composed of starch, protein, gypsum, and a red iron oxide pigment. The presence of a high concentration of starch granules in this layer indicated that the material was not heated sufficiently to form a paste. This explains the lack of cohesion within the ground layer and the ensuing cracking and cleavage. Although the use of pigmented, starch-based preparatory layers is mentioned in documentary sources, this type of ground has rarely been identified in a painting.
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