Varnish removal from works of art on paper, a controversial matter. Recent reflections on the materials and methodology used for the treatment of the varnish layer

A. Alexopoulou, E. Kiskira, P. Banou, K. Choulis , Charis Theodorakopoulos

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    Abstract

    The practice of varnishing works of art on paper, in particular prints, to provide a glossy finish, was developed for two main reasons: to imitate oil paintings, so the works of art on paper could mingle with them, as well as to avoid the high cost of the glass on the frame [1]. Varnishing was also applied to make maps and drawings more durable for handling and display [2]. Commonly, works of art on paper were coated with oil-based and alcohol-based varnishes. Upon ageing, the varnish layer becomes brittle and hard, cracks and discolours [3]. Consequently, the deterioration of the varnish promotes severe damage to the works, such as the loss of the mechanical strength of the paper support or the flaking of the media [4]. This process can lead to the complete loss of the image, especially when exposed to aggravated environmental conditions. Removing a varnish coating is a challenging procedure in the field of paper conservation, with questionable results. There are concerns about the impact of the varnish removal procedures on the paper support, the media and the binding agents, as well as the possible residues of the reagents used in the cleaning solutions or the alterations caused to the media and the paper support and the long-term stability and aesthetics of the works. Within the framework of the EU funded project GreenArt, the application of green cleaning liquids and gels was studied and compared to solvents using swabs and other alternative techniques, gel and cleaning fluids available in the market, as well as laser cleaning on two 18th-century varnished black and white prints, which were used as sacrificial objects. Research methodology included the identification of the materials using imaging techniques (VIS, UVL, UVR, FCIR and multispectral imaging), optical microscopy and ATR-FTIR. In order to record and evaluate the results from the application on various materials, imaging techniques, colorimetry, glossimetry, microscopy on the original works and ATR-FTIR, were employed. This methodology recorded the changes and the results from the application and indicated the presence of residues.
    Original languageEnglish
    Title of host publicationBook of Abstracts: 6th International Conference on Innovation in Art Research and Technology
    EditorsAngeliki Zisi, Lavinia de Ferri
    Place of PublicationOslo, Norway
    PublisherUniversity of Oslo
    Pages173-174
    Number of pages2
    ISBN (Electronic)9781803277424
    Publication statusPublished - 4 Jun 2024
    EventInART2024 Conference - University of Oslo, Oslo, Norway
    Duration: 4 Jun 20247 Jun 2024
    https://www.khm.uio.no/english/research/inart2024/

    Conference

    ConferenceInART2024 Conference
    Country/TerritoryNorway
    CityOslo
    Period4/06/247/06/24
    Internet address

    Keywords

    • Varnish
    • Works of art on paper
    • Removal
    • Analysis
    • Green materials

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