Low molecular weight cellulose ethers as aerosols for the the consolidation of cohesively weak paint layers

Due to Edvard Munch’s (1863-1944) unconventional painting technique, choice of materials, and the unstable climate conditions of his studios, where the paintings were stored during his lifetime, many of his paintings, now housed at MUNCH, have cohesively weak and loose paint layers. As a result, consolidation and re-adhesion of these fragile paint layers are the most frequently performed conservation treatments on his paintings. A selection of low molecular weight (lmw) hydroxypropyl methylcellulose ethers (HPMC), new to the field of conservation, have been evaluated in comparison to methylcellulose (MC) A4C and sturgeon glue regarding their suitability for the consolidation of cohesively weak paint layers. The mock-ups used for these investigations were of a similar composition (pigment, binding medium and pigment-binding medium ratio) and porosity to a paint sample from the painting “Beach Landscape with Trees and Boats” from 1905-06 by Edvard Munch. Viscosity and surface tension of aqueous solutions of the consolidants and their influence on the imbibition time and depth into porous paint layers were investigated. Fluorescence labelling was used to visualize the imbibition depth of an aqueous solution of the lmw HPMC E3 and MC A4C, applied as an aerosol. With this method it could be shown that the applied amount and the application method of the consolidant (with or without intermediate drying steps) can play a crucial role in the imbibition depth. To evaluate the consolidation effect of the tested polymers, the aerosols of their aqueous solutions were applied on the paint mock-ups in a reproducible and standardized way, using an automated two-axis-table. A customised abrasion test was developed to evaluate the comparative increase of the paint layer cohesion after consolidation. These preliminary investigations show lmw HPMC as promising alternatives to established consolidants. They allow for an ultrasonic nebulisation in higher concentrations and thus for the paint layer’s consolidation in a lower number of applications

Novel application of liquid chromatography/mass spectrometry for the characterization of drying oils in art: Elucidation on the composition of original paint materials used by Edvard Munch (1863-1944)

Modern oil paints, introduced at the beginning of the 20th century, differ from those classically used in antiquity in their chemical and compositional features. The main ingredients were still traditional drying oils, often used in mixtures with less expensive oils and added with several classes of additives. Consequently, detailed lipid profiling, together with the study of lipid degradation processes, is essential for the knowledge and the conservation of paint materials used in modern and contemporary art.A multi-analytical approach based on mass spectrometry was used for the study of original paint materials from Munch's atelier, owned by the Munch Museum in Oslo. The results obtained in the analysis of paint tubes were compared with those obtained by characterizing a paint sample collected from one of the artist's sketches for the decoration of the Festival Hall of the University of Oslo (1909-1916).Py-GC/MS was used as screening method to evaluate the presence of lipid, proteic or polysaccaridic materials. GC/MS after hydrolysis and derivatization allowed us to determine the fatty acid profile of the paint tubes, and to evaluate the molecular changes associated to curing and ageing. The determination of the fatty acid profile is not conclusive for the characterization of complex mixtures of lipid materials, thus the characterization of the triglyceride profiles was performed using an analytical procedure based on HPLC-ESI-Q-ToF.This paper describes the first application of HPLC-ESI-Q-ToF for the acquisition of the triglyceride profile in a modern paint sample, showing the potentialities of liquid chromatography in the field of lipid characterization in modern paint materials. Moreover, our results highlighted that the application of this approach can contribute to address dating, authenticity and conservation issues relative to modern and contemporary artworks

Probing the chemistry of CdS paints in The Scream by in situ noninvasive spectroscopies and synchrotron radiation x-ray techniques

The degradation of cadmium sulfide (CdS)-based oil paints is a phenomenon potentially threatening the iconic painting The Scream (ca. 1910) by Edvard Munch (Munch Museum, Oslo) that is still poorly understood. Here, we provide evidence for the presence of cadmium sulfate and sulfites as alteration products of the original CdS-based paint and explore the external circumstances and internal factors causing this transformation. Macroscale in situ noninvasive spectroscopy studies of the painting in combination with synchrotron-radiation x-ray microspectroscopy investigations of a microsample and artificially aged mock-ups show that moisture and mobile chlorine compounds are key factors for promoting the oxidation of CdS, while light (photodegradation) plays a less important role. Furthermore, under exposure to humidity, parallel/secondary reactions involving dissolution, migration through the paint, and recrystallization of water-soluble phases of the paint are associated with the formation of cadmium sulfates

Mechanical Loads on Munch´s Paintings Caused by Handling during in-house transport

publishedVersio

Gode intensjoner og uante resultater - Konsekvenser av tidligere konserveringsbehandlinger av Edvard Munchs malerier

Sammendrag: Mange av Edvard Munchs malerier, i Munchmuseets samling, er i dårlig forfatning i dag. Dette blir ofte forklart med at Munch malte og lagret malerier utendørs og at de dermed ble utsatt for vær og vind. Særlig har eksponeringen for sollys bidratt til oppfatningen om malerienes dårlige tilstand. Forskning har derimot påpekt at Munch eksperimenterte med materialer og metoder for å matte ned glansen i malerienes overflater, og at dette kan være en viktig faktor. Det er vesentlig å forstå betydningen av Munchs arbeidsmetoder, materialbruk og teknikk for å forstå malerienes tilstand i dag og hvordan de kan konserveres. Vi belyser derfor kort betydningen av ulike faktorer som har påvirket malerienes forfatning, men også hvordan tidligere konserveringsbehandlinger har endret overflatene og dermed også lesningen av maleriene. Vi beskriver til slutt hvordan dette påvirker arbeidet med konservering av maleriene i museet i dag

Probing the chemistry of CdS paints in The Scream by in situ noninvasive spectroscopies and synchrotron radiation x-ray techniques

The degradation of cadmium sulfide (CdS)–based oil paints is a phenomenon potentially threatening the iconic paint-ing The Scream (ca. 1910) by Edvard Munch (Munch Museum, Oslo) that is still poorly understood. Here, we provide evidence for the presence of cadmium sulfate and sulfites as alteration products of the original CdS-based paint and explore the external circumstances and internal factors causing this transformation. Macroscale in situ noninvasive spectroscopy studies of the painting in combination with synchrotron-radiation x-ray microspectroscopy investiga-tions of a microsample and artificially aged mock-ups show that moisture and mobile chlorine compounds are key factors for promoting the oxidation of CdS, while light (photodegradation) plays a less important role. Furthermore, under exposure to humidity, parallel/secondary reactions involving dissolution, migration through the paint, and re-crystallization of water-soluble phases of the paint are associated with the formation of cadmium sulfates

Investigation of Materials used by Edvard Munch

The pigments and paint binders used by Edvard Munch have been investigated in several studies. Munch used a mixture of media in his works of art. The two versions of The Scream studied here were found to include oil paints and oil paints thickened with beeswax and also oil crayons containing beeswax and Japan wax, as well as casein pastels, a paraffin wax crayon and at least one gum-bound paint. His sketches on canvas make use of oil paints and tempera paints including egg and casein, as well as casein pastels in at least one instance. His oil paintings on canvas seem to have been executed using a more conventional technique, with most having one or a few paint layers bound with linseed oil on a ground formed from lead white in oil on top of a ground made of chalk in glue. Munch's palette is not extensive, though he was reasonably willing to introduce new materials, such as his use of a petroleum-based wax crayon in 1893, oil pastel - possibly as early as 1893 and certainly by 1910, and his use of cadmium red by 1927-1929. The identification of materials has informed conservators who are planning and carrying out conservation treatment