Conservation problems with paintings containing fluorescent layers of paint
In modern art we can see that artists are breaking with traditional techniques. New materials like sponge, polyester, sand, etc. are being used. This causes a lot of new problems in the (preventive) conservation of works containing these materials. Every material needs to be researched individually...
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| Format: | Article |
| Language: | English |
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Association CeROArt
2010-11-01
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| Series: | CeROArt : Conservation, Exposition, Restauration d'Objets d'Art |
| Subjects: | |
| Online Access: | https://journals.openedition.org/ceroart/1659 |
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| Summary: | In modern art we can see that artists are breaking with traditional techniques. New materials like sponge, polyester, sand, etc. are being used. This causes a lot of new problems in the (preventive) conservation of works containing these materials. Every material needs to be researched individually so the exact intention of the artist can be preserved for a (relatively) long period. My research is about very recent materials: fluorescent pigments and paints. These only started to be used by artists from the 60’s. That's why there is not much information about their aging and ways to (preventively) conserve them. A lot of fluorescent paintings are meant to be shown under UV-light. If a fluorescent painting has damage and needs to be retouched there is a big esthetical problem. The retouched damage is visible under UV-light. The title of this thesis is born out of this last problem: Conservation problems with paintings containing fluorescent layers of paint. The first topic of research for this thesis concerns the composition of these different sorts of paint and pigments. Afterwards, the causes of damage resulting from UV-light –and other factors- were thoroughly analyzed. Finally, a possible remedy is being proposed. |
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| ISSN: | 1784-5092 |