Rebecca Ploeger

Materials and techniques in the pictorial oeuvre of Lucio Fontana

Abstract The painting materials used by Lucio Fontana were investigated through the analysis of 28 Spatial Concept works created between the early 1950s and the artists death in 1968. The pictorial media were analyzed by means of numerous techniques including Fourier transform infrared spectroscopy, pyrolysis-gas chromatography–mass spectrometry, scanning electron microscopy, and X-ray fluorescence. This study has provided a more complete understanding of the artists technique, as it was found that Lucio Fontana had already begun experimenting with new synthetic pictorial and binding media such as alkyds and polyvinyl acetates at the beginning of the 1950s, and polyesters during the early 1960s. Although he never abandoned the use of commercial oil paints, Fontanas application of these new materials continued in an infinitely varied search for innovative expressive effects. The characterization results explain the physical and mechanical properties of the paint layers, and may be correlated with the conservation state of the works analyzed. All the results have been compiled and are discussed together with the artists practices and their evolution over time.

Thermal analysis of the interaction of inorganic pigments with p(nBA/MMA) acrylic emulsion before and after UV ageing

Differential scanning calorimetry (DSC) and thermogravimetry (TG) analyses were used to investigate the influence of inorganic pigments on the photo-oxidative stability of an acrylic emulsion binding medium. For this purpose, three different types of inorganic pigments such as ultramarine blue, cadmium red and hydrated chromium oxide green were selected and mixed with an acrylic emulsion binding medium of poly(n-butyl acrylate/methyl methacrylate). These laboratory mixed paints were analysed before and after UV exposure for different periods of time. In addition, three acrylic commercial paints such as ultramarine blue, cadmium red and chromium oxide green from Liquitex® and Rembrandt® companies were also analysed. The results obtained with both thermal techniques suggested that ultramarine blue has the strongest influence on the photo-oxidative stability of the binding medium. A higher increase of the glass transition temperature Tg was observed by DSC analysis on the UV aged binder mixed with ultramarine blue. This result was confirmed by the TG investigations that showed a gradual decrease of the initial temperature of degradation as well as the strongest decrease of the final mass% of the organic compounds. Similar results were measured from the Liquitex® and Rembrandt® blue paints.

Original and reformulated BEVA® 371: Composition and assessment as a consolidant for painted surfaces

Abstract Many natural and synthetic products have been used for the consolidation of paint layers, but none have been thoroughly tested for this application. This is apparent for most of the synthetic and semi-synthetic adhesives for conservation, many of which are pure polymer resins and dispersions adapted from other industries. They were not specifically formulated with the appropriate properties for conservation, nor do they take advantage of some of the more recent developments in adhesive technology. BEVA® 371 is unique among adhesives used for consolidation treatments, as it is a multi-component mixture and was designed specifically for the conservation field using the best technology available at the time. However, the main focus of the research was its application as a lining adhesive. Thus, optical properties and stability, specifically color stability, were not thoroughly evaluated even though some lining applications that were first recommended could have benefited from this type of investigation. This paper will discuss the development of BEVA® 371, the chemistry, and roles of each component, and address a practical concern about the tack behavior of its replacement formulation, BEVA® 371b.