Conservation of paintings

M. H. Butler, Polarised Eight Microscopy in the Conservation of Paintings, centennial volume. State Microscopical Society of Hlinois, Chicago, pp. 1—17, 1970. 

Newton, R.G. (1982). The Deterioration and Conservation of Painted Glass A Critical Bibliography. Corpus Vitrearum Medii Aevi Great Britain Occasional Paper II, British Academy, Oxford University Press, Oxford. 

Plesters, J. Lazzarini, L. In Conservation of Paintings and the Graphic Arts, Lisbon Congress, 1972 International Institute of Conservation of Historic and Artistic Works London, 1972 pp 153-160. 

Removal of a polymer nsnaUy involves the use of solvents, all of which cause swelhng of the polymers and perhaps the object. This is likely to cause disruption of those parts of the object that are embedded in the polymer. Solvents necessary to remove polymers frequently threaten or cause damage to an object. This continues to be a cause of concern in the conservation of paintings (Phenix, 2003) and in many other fields. 

Feller, R. L. (1972). Problems in the investigation of picture varnishes. In Conservation of paintings and the graphic arts preprints of contributions to the Lisbon Congress, 9-14 October 1972. International Institute for Conservation of Historic and Artistic Works, 201-209. 

Watts (2002) Watts, I. Ochre in the Middle Stone Age of Southern Africa Rituahsed display or hide preservative South African Archaeological Bulletin 57 175 (2002) 1-14 Weatherhead (2001) Weatherhead, F. Recording and conservation of painted plaster from the early excavations at Amama. Appendix Fresco technique on floor paintings from Amama Colour and Painting in Ancient Egypt Davies, VW. (ed.) The British Museum Press, London (2001) 58... 

M. Hours, Conservation and S cientific Analysis of Paintings, Van Nostrand Reiohold, New York, 1976. 

N. S. Brommelle and P. Smith, eds.. Case Studies in the Conservation of Stone and Wall Paintings, The International Institute for the Conservation of Historic and Artistic Works, London 1986. 

P. Mora, L. Mora, and P. PhUippot, Conservation of Wall Paintings, Butterworths, London, 1984. 

The conservation of cultural heritage is a particular field where the use of nondestructive characterization methods is mandatory, considering the uniqueness of the objects under study. Even in cases where sampling of tiny volumes is allowed, non-destructive testing offers the possibility of applying complementary techniques to obtain more information on one specific sample. In this section we focus on the application of the described profiling technique to study paintings. The... 

Feller, R. L., "The Deterioration of Organic Substances and the Analysis of Paints and Varnishes", in "Preservation and Conservation, Principles and Practices", Smithsonian Press, Washington, D.C., 1976, pp. 287-299. 

Art conservation, particularly painting restoration, is an important endeavor to preserve our cultural heritage and maintain the aesthetic value of an artistic piece. Chemical reactions occurring on a microscopic level are the origin of the macroscopic changes that we observe as ageing. 

Bussotti L., Castellucci E., Matteini M., The Micro-Raman Technique in the Studies for the Conservation of Art Works Identification of Lakes in Paints, Science and Technology for Cultural Heritage 1996 5 (1) 13. 

J.S. Mills, The gas chromatographic examination of paint media. Part I Fatty acid composition and identification of dried oil films, Studies in Conservation, 11, 92 107 (1966). 

J.S. Mills, R. White, The identification of paint media from the analysis of their sterol composition, Studies in Conservation, 20, 176 182 (1975). 

R. Arbizzani, U. Casellato, E. Fiorin, L. Nodarib, U. Russob, P.A. Vigato, Decay Markers for the Preventative Conservation and Maintenance of Paintings, Journal of Cultural Heritage, 5, 167 182(2004). 

S.M. Halpine, An Investigation of Artists Materials using Amino Acid Analysis + Selected Results from Technical Investigations of Paintings Undergoing Conservation Treatment Introduction of the One hour Extraction Method, Studies in the History of Art, 51, 28 69 (1995). 

S. Bianchin, U. Casellato, M. Favaro, P.A. Vigato, Painting Technique and State of Conservation of Wall Paintings at Qusayr Amra, Amman, Jordan, Journal of Cultural Heritage, 8, 289 293 (2007). 

G. Chiavari, D. Fabbri, S. Prati, R. Mazeo, D. Bikiaris, S. Daniilia and Y. Chrussoulakis, Analytical pyrolysis application to the characterisation of Byzantine painting layers, Proceedings of 6th International Conference on Non Destructive Testing and Microanalysis for the Diagnostics and Conservation of the Cultural and Environmental Heritage (Eds M. Marabelli and C. Parisi), Euroma, Rome, 1999, pp. 1145 1162. 

Synthetic polymers, often possessing uniquely desirable working proper- ties and physical appearance, are finding ever wider use by artists and conservators. For example, poly (vinyl acetate) emulsions have been used for collages (4,5), the production and conservation of books (6,7), and the conservation of textiles and paintings (8,9). It has become essential to study the behavior of new materials and to evaluate their long-term behavior as individual materials and as components in the complex systems which make up artistic and historic artifacts. Our experience with a wide range of natural and synthetic polymers—e.g.,... 

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