Binding media

The most important component in the majority of paints is the binding medium, which determines the physical and chemical properties of the paint. Blends of binding media are often used to impart specific properties to the dry paint film or to suit a particular application method. The compatibility of chemically different types of binders is an important factor to be taken into account by the paint formulator. These properties will be modified, however, to a greater or lesser extent by the nature and quantity of the other components, more especially the pigment. The general characteristics of various binding media are given in Table 14.2. 

Masschelein-Kleiner, L. (1985), Ancient Binding Media, Varnishes and Adhesives, International Center for the Study of the Preservation and Restoration of Cultural Property, Rome. 

The Swiss painter Cuno Amiet (1868 1961) carried out experiments with binding media from at least 1902 onwards. Today, many of his paintings show several ageing phenomena that probably are due to the nature of the applied painting technique. On the... 

Owing to the fact that organic substances have to be separated from a complex sample, transferred to the mass spectrometer target and desorbed, it seems impossible so far to analyse cross-linked binding media from artwork (e.g. dried oil, aged proteins, cross-linked synthetic polymers). Application of classical methods of sample treatment for... 

R. Mateo Castro, J.V. Gimeno Adelantado, F. Bosch Reig, A. Domenech Carbo, MJ. Casas Catalan, L. Osete Cortina, J. De la Cruz Canizares, M.T. Domenech Carbo Identification by GC FID and GC MS of amino acids, fatty and bile acids in binding media used in works of art, Fresenius J. Anal. Chem., 369, 642 646 (2001). 

I. Gluch, A. Urbanska, I. Zadrozna, K. Pawlak, M. Jarosz, Identification of proteinaceous binding media used for paintings by capillary electrophoresis with electrospray MS detection, Chem. Analit., 51, 195 210 (2006). 

S.M. Harrison, I. Kami, V. Prokoratova, M. Mazanek, E. Kenndler, Characterisation and identification of proteinaceous binding media (animal glues) from their amino acid profile by capillary zone electrophoresis, Anal. Bioanal. Chem., 382, 1520 1526 (2005). 

Baumer U., Binding media analysis at the Doerner Institut, in Proceedings of MASC (User s Group for Mass Spectrometry and Chromatography) 2007 GCMS Workshop, Philadelphia Museum of Art, 2007, http //www.mascgroup.org. 

Casoli A., Musini P.C., Palla G., Gas chromatographic mass spectrometric approach to the problem of characterizing binding media in paintings, Journal of Chromatography A, 1996,731, 237 246. 

Mateo Castro R., Domenech Carbo M.T., Peris Martinez V., Gimeno Adelantado J.V., Bosch Reig F., Study of binding media in works of art by gas chromatographic analysis of amino acids and fatty acids derivatized with ethyl chloroformate, Journal of Chromatography A, 1997, 778, 373 381. 

M.R. Schilling, H.P. Khanjian, Gas Chromatographic Analysis of Amino Acids as Ethyl Chloroformate Derivatives. II. Effects of Pigments and Accelerated Aging on the Identification of Proteinaceous Binding Media, Journal of the American Institute of Conservation, 35, 123 144 (1996). 

S.L. Vallance, Applications of Chromatography in Art Conservation Techniques Used for the Analysis and Identification of Proteinaceous and Gum Binding Media, Analyst, 122, 75R 81R (1997). 

E. Kenndler, K. Schmidt Beiwl, F. Mairinger, M. Pohm, Identification of Proteinaceous Binding Media of Easel Paintings by Gas Chromatography of the Amino Acid Derivatives after Catalytic Hydrolysis by a Protonated Cation Exchanger, Fresenius Journal of Anaytical. Chemistry, 342, 135 141 (1992). 

M.F. Striegel, J. Hill, Thin Layer Chromatography for Binding Media Analysis (Scientific Tools for Conservation), Getty Trust Publication, Los Angeles (1996). 

V.J. Birstein, On the Technology of Central Asian Wall Paintings the Problem of Binding Media, Studies in Conservation, 20, 8 19 (1975). 

A. Casoli, P.C. Musini, G. Palla, Gas Chromatographic Mass Spectrometric Approach to the Problem of Characterizing Binding Media in Paintings, Journal of Chromatography, A, 731, 237 246 (1996). 

A. Ballistreri, M. Fichera, P. Fifi, G. Musumarra, Characterization of Vasari and Zuccari Binding Media by Direct Pyrolysis in the Mass Spectrometer, Science and Technology for Cultural Heritage, 7, 27 30 (1998). 

M.R. Schilling, Workshop on Binding Media Identification in Art Objects, LabSTECH European Infrastructure Cooperation Network, 24 26 March, Amsterdam (2003). 

I. Bonaduce, C. Blaensdorf, P. Dietemann, M.P. Colomhini, The Binding Media of the Polychromy of Qin Shihuang s Terracotta Army, Journal of Cultural Heritage, 9, 103 108 (2008). 

Table 11.1 Molecular markers suggested in the literature for the identification of proteinaceous binding media...

J. de la Cruz Canizares, M.T. Domenech Carbo, J. V. Gimeno Adelantado, R. Mateo Castro and F. Bosch Reig, Study of Burseraceae resins used in binding media and varnishes from artworks by gas chromatography mass spectrometry and pyrolysis gas chromatography mass spectro metry, J. Chromatogr., A, 1093, 177 194 (2005). 

G. Chiavari, P. Bocchini and G. C. Galletti, Rapid identification of binding media in paintings using simultaneous pyrolysis methylation gas chromatography, Sci. Technol. Cult. Herit., 1, 153 158(1992). 

Natural and synthetic resins are organic compounds easily found in art objects either as varnishes and protective coatings or binding media, adhesives, consolidants and finishing layers. They are mainly used in manufacturing paintings, but also in pottery, furniture and wooden objects, sculptures, musical instruments and works on paper. In addition, natural and synthetic resins have widespread use as conservation materials. 

P. Vandenaheele, B. Wohling, L. Moens, H. Edwards, M. De Ren and G. van Hooydonk, Analysis with micro Raman spectroscopy of natural organic binding media and varnishes used in art, Anal. Chim. Acta, 407, 261 274 (2000). 

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