Search Results (27)

Louise Nevelson’s Erol Beker Chapel of the Good Shepherd (1977) is a sculptural environment consisting of wooden sculptures painted a monochromatic white color. The paints show signs of degradation including cracking, chipping, peeling, and the formation of blisters and powdery efflorescence. A significant amount of pentaerythritol (PER) detected during a former analysis was concluded to originate from an alkyd paint. We show that the PER originates from the PVAc paint on the sculptures, which we have determined to be an intumescent, fire-retardant (IFR) coating. IFR paints and coatings are functional materials designed specifically to delay the combustion of their substrate. At least one other sculpture by Louise Nevelson is known to have been painted with an IFR coating. Our analyses by Fourier transform infrared spectroscopy (FTIR), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), pyrolysis–gas chromatography/mass spectrometry (Py-GCMS), and cross-section microscopy show the presence and distribution of common IFR additives including PER, dicyandiamide, melamine, inositol, ethylenediamine, and phosphates. These are present throughout the PVAc paint and are enriched in the powdery efflorescence. In addition, the degradation behavior of the paint is typical for IFR coating systems that have been exposed to uncontrolled environmental conditions and especially high humidity events. Full article

Catheter-associated urinary tract infection (CAUTI) induced by rapid bacterial colonization and biofilm formation on urinary catheters is a key issue that urgently needs to be addressed. To prevent CAUTI, many contact-killing, non-leaching coatings have been developed for the surfaces of silicone catheters. However, due to the chemical inertness of the silicone substrate, most current coatings lack adhesion and are unstable under external forces. Thus, the aim of this study was to develop a surface coating that has both good antibacterial ability and a high affinity toward silicone substrates. To achieve high affinity, a pre-coating layer with abundant surface vinyl groups, named SI-vinyl, was prepared on the silicone substrate by moisture curing using a mixture of α,ω-dihydroxy polydimethylsiloxane and vinyltrimethoxysilane as the painting agent. To endow the surface with contact-killing ability, a series of polyurethanes with different contents of quaternary ammonium salt groups in their main chain and two vinyl end groups were synthesized and covalently grafted onto the surface of SI-vinyl, resulting in corresponding bactericidal coatings with different surface contents of quaternary ammonium salt groups (SI-QAS). Of these bactericidal coatings, SI-QAS-2, with a surface QAS content of 2.1 × 10¹⁶ N⁺ cm⁻², was selected as the best coating based on the consideration of stability, compatibility, and antibacterial ability. The SI-QAS-2 coating demonstrated high contact-killing performance, rapidly inactivating 72.8%, 99.9%, and 98.9% of Escherichia coli, Staphylococcus aureus, and Pseudomonas aeruginosa within 30 min. Furthermore, even after being exposed to a high concentration of bacteria (10⁶ CFU/mL) for 4 days, the SI-QAS-2 coating still maintained a high bactericidal ratio of over 80%. In summary, we developed a novel contact-killing coating that reduces the risk of bacterial infections caused by catheter implantation, demonstrating that it has high affinity toward silicone substrates, excellent contact-killing efficiency, a facile preparation method, and potential for further application. Full article

In this study, we present the first characterisation of the polyvinyl acetate (PVAc) paints of commercial Spanish brand La Pajarita preserved in the studios of Joan Miró (1893–1983) in Mallorca, Spain. Investigation of several black and white paint samples using complementary analytical techniques (XRD, SEM–EDX, FTIR, and Py–GC–MS) allowed for the identification of pigments and binding media in studio materials, as well as in three artworks dating from the 1970s. Through comparative analysis, it was possible to find significant similarities between the composition of La Pajarita paints conserved in cans in the artist’s studio with black and white painted layers from three artworks by Miró. Miró’s use of La Pajarita paints is extensively documented in studio notes, photographs, and videos, and these paints are known to have been used by other significant Spanish artists. However, their composition has remained largely undiscovered until now. This research contributes to the knowledge of PVAc paints, providing evidence of their use by Joan Miró. The analytical results serve as a valuable reference for comparing and identifying these synthetic paints in other artworks, as well as aiding in attribution or dating studies. Furthermore, the study demonstrates the significance of materials found in artists’ studios as a fundamental resource for identifying the materials present in artworks. Full article

Sol LeWitt, a pioneer of conceptual art, created during his career over 1350 wall drawings, including the Wall Drawing #736 (1993) at the Center for Contemporary Art Luigi Pecci in Prato (Prato, Italy). The painting, executed by Andrea Marescalchi and Antony Sansotta under LeWitt’s instructions, features a grid of coloured rectangles obtained by overlapping different layers of inks. During a 2021 restoration by the Wall Paintings and Stuccoes Department of the Opificio delle Pietre Dure (Firenze, Italy), an in-depth investigation of the composition and the materials used by LeWitt’s assistants in producing Wall Drawing #736 was performed. A multi-analytical approach entailing Raman spectroscopy, high-performance liquid chromatography coupled to diode array and high-resolution mass spectrometry, gas chromatography–mass spectrometry (GC–MS), and pyrolysis coupled with GC–MS was applied. Our results revealed the use of animal glue, shellac resin, paraffin wax, linseed oil, and various organic pigments. The binder in the preparation layer was identified as poly(vinyl acetate), while poly(n-butyl methacrylate) was determined as a fixative. This research provided valuable insights into LeWitt’s techniques. The acquired knowledge on the paint technique is highly relevant in supporting conservators in restoration and consolidating the many wall drawings produced exploiting the same technique all over the world. Full article

While extensive research has focused on understanding the degradation mechanisms of Poly(vinyl acetate) (PVAC) paint under different environmental conditions, limited attention has been paid to the long-term stability of PVAC-based white glues, especially when used in artworks. This study investigates the accelerated degradation, under simulated photoaging, and isothermal treatment of a commercial PVAC-based white glue considered representative of this class of materials used in contemporary artworks to predict its durability and assess its behavior in art objects. Through accelerated aging experiments and comparison with natural aging observed in artworks, the study reveals the formation of chromophores and the release of plasticizers as key processes; in particular, the progressive darkening was considered an early indicator of degradation processes, before structural changes could be detected by FTIR or NMR spectroscopies. The plasticizer loss induces an increase in glass transition temperature, from 7 °C to temperatures higher than room temperature, affecting the adhesive’s cohesive strength and contributing to the detachment of materials in artworks. The findings underscore the importance of preventive conservation measures to mitigate degradation issues in PVAC-based artworks. Full article

The emission of chlorinated pollutants is one of the main problems when recovering copper (Cu) via pyrolysis from waste enameled wires. This is mainly attributed to other wastes which possess high poly(vinyl chloride) content, such as electrical wires and cables, which are often recycled together with enameled copper wires. In this research, to control the chlorinated pollutants, copper(II) oxide (CuO) was chosen and demonstrated to be an efficient dechlorinating agent, and CuO did not introduce any impurities that influence the quality of the recovered Cu. The pyrolysis and co-pyrolysis of polyester enameled wires, PVC, and CuO were investigated, and special attention was paid to chlorinated compounds in released pyrolytic products. In particular, the co-pyrolysis of this ternary mixture was studied for the first time, and some new pyrolysis behaviors were discovered. For example, the results of Py-GC/MS analyses showed that the addition of CuO removed about 75% of the chloro-organic products, the main types of which were chloroaromatic compounds rather than the more toxic chloroesters. Moreover, pyrolysis gases were collected and characterized via ion chromatography, and the results showed that the chlorine content in the pyrolysis gases decreased by about 71%. TG analysis indicated that CuO only minimally affected the pyrolysis of polyester paint. However, through the chlorine fixation effect, CuO influenced the dechlorination and dehydrochlorination of PVC, as well as secondary reactions between HCl and pyrolysis products of polyester paint, therefore changing the products and behaviors of co-pyrolysis. Mechanism of reducing chlorine-containing pollutants and reaction mechanism of forming typical pyrolysis products closely correlated to the effects of CuO were also proposed, providing theoretical guidance for the recycling of waste enameled wires. Full article

Since their development in the 1950s, poly(vinyl acetate) [PVAc] paints (also known as vinyl) have been used by many artists, most notably in countries such as Spain, Portugal, and the United Kingdom; they are also used globally as a common binder for house paints. However, only a relatively limited number of heritage scientific studies have focused on vinyl paints. Consequently, many critical aspects of this material, such as the degradation processes, variations in paint formulations, and responses to conservation treatments, remain largely understudied. This article aims to summarise the available relevant information on poly(vinyl acetate) paints from both the scientific and the conservation practice perspectives. The article provides a brief overview of the development of poly(vinyl acetate) paints as artist-grade and household products and the known differences in their formulations. It also focuses on poly(vinyl acetate) ageing behaviour, the physicochemical properties, the recent scientific research on poly(vinyl acetate) material characterisation and degradation, and the main conservation issues regarding these paints, such as those relating to cleaning treatments. Full article

This study comprehensively assesses the release rate of biocides, corrosion effects related to antifouling, and the physical properties of different paint types. Tests were conducted to measure thickness, viscosity, hardness, bending, adhesion, gloss, impact resistance, abrasion resistance, scratch resistance, polarization, and salt spray. The paints evaluated include resin-based, acrylic-based, epoxy-based, and vinyl-based formulations. The study investigates the influence of biocide content, biocide particle size, and immersion time on release rate using a lab-scale setup. Results showed that acrylic-based paints had a higher biocide release rate due to faster hydrolysis, while smaller biocide particle sizes led to higher release rates in resin-based paints. Optimal total biocide contents were determined to be 30% for acrylic-based, 60% for epoxy-based, and 50% for vinyl-based paints. Antifouling corrosion analysis demonstrated that sample with an optimal release rate effectively prevent algae growth and fouling. Acrylic-based paint with 30 wt.% biocide content exhibited superior adhesion with a dolly separation force of 4.12 MPa. Evaluating the impact of synthesized polyaniline on 30 wt.% epoxy-based paint, a sample coated with 10 wt.% polyaniline represented a low corrosion rate of 0.35 µm/year and a high impedance value of approximately 37,000 Ohm·cm⁻². Full article

Yves Klein (1928–1962) is best known for his intensely blue monochromatic works made with International Klein Blue (IKB), a synthetic ultramarine blue pigment bound in a poly(vinyl acetate) binder. However, he also made monochromes in other colors, including red and pink, the pigments of which have never been elucidated. Analysis of one sculpture, three paintings, and one screenprint by micro-Fourier transform infrared spectroscopy (µ-FTIR), Raman and surface-enhanced Raman (SERS) spectroscopies, portable X-ray fluorescence spectroscopy (p-XRF), and scanning electron microscopy (SEM) coupled with energy dispersive X-ray spectrometry (EDX), revealed that Klein used, knowingly or unknowingly, a variety of pink and red pigments, including Para Red, rhodamine 6G, rhodamine B, eosin Y, and alizarin lakes. The unexpected variety of pigments contrasts with his use of a single blue pigment and suggests he may not have held a singular vision of what constituted an iconic red or pink color. Full article

The lining of paintings is a process of conservation science and art restoration used to strengthen, flatten, or consolidate paintings on canvas by attaching by means of adhesives a second canvas to the back of the existing one. To this aim, the prospects of the use of ethyl vinyl acetate (EVA) resins in aqueous dispersion applied as an adhesive in a foam form have been investigated in the present study. The key physical properties of the foam have been investigated, with a deep focus on rheological behavior and the drying rate, comparing the results with those obtained using the liquid products that are commercially available. Dedicated mock-ups have been prepared to test the adhesive for the lining process, inspecting adhesion strength, colorimetric properties, and the influence on the possible chromatic and visual alteration of the surface, also looking at the chemical interaction with painting materials and the deterioration after an artificial ageing process. The results obtained clearly indicated that the proposed technology is very suitable for the targeted application, and an EVA water-based foamed dispersion can be used for paintings’ lining, in view of the ease of application, being an appropriate adhesion, no chemical interaction, nor the deterioration of the painting. Full article

Phthalates can be found in personal care products as solvents and plasticizers in various polymers, especially PVC, wall coverings, certain paints, vinyl floor coverings, electronic devices, medical devices, food packages, toys, cables and other products. Humans are ingesting food products that contain phthalates, or they have dermal contact with phthalate-containing material, such as clothes, PVC gloves, personal care products or house dust. In this study, samples of dust from several houses in Kozani city, Greece, were collected and analyzed for phthalate concentration, and the potential association with building characteristics was examined utilizing detailed checklists. Samples were taken from the vacuum cleaner of the houses and extracted with ethyl acetate, and then analyzed with GC-MS in the SIM mode. The levels of phthalate ranged from 10.57 to 221.19 μg/g for Di-iso-butyl phthalate (DiBP), 4.03 to 264.91 μg/g for Di-n-butyl phthalate (DBP), 0.72 to 20.22 μg/g for benzyl-butyl phthalate (BBP) and 62.73 to 1233.54 μg/g for Di- (2-ethylhexyl) phthalate (DEHP), with detection limits of 4.5, 3.3, 11.6 and 13.1 ng/g, respectively. Using the Kruskal–Wallis statistical test, several associations were found between the measured phthalate and occupant activities (duration of ventilation and location of temporary garbage storage) and building characteristics (plastic or synthetic materials inside the houses). Full article

The abstractionist paintings of Puerto Rican artist Olga Albizu (1924–2005) gained prominence in the late 1950s when her work debuted in galleries across the Americas and entered the commercial music industry with RCA and Verve records. However, existing scholarship has failed to capture the complex relationship between Albizu’s anti-commercial abstractionist aesthetic and its mass reproduction as cover art for vinyl records during the Cold War era. Returning to the canvas to explore the iconographic, formal, and aesthetic qualities of Albizu’s work within its sociohistorical post-World War II context, this study reveals Albizu’s devotion to formal borders, vivid color juxtapositions, and compositional tensions. I argue that Albizu’s practice constitutes an ongoing concern with a Modernist dialectic and ideals about subjective transformation in a postmodern world of mass culture, a message she conveyed through the material and experiential borders of the canvas. As an avowed formalist and Modernist existing between the postcolonial and postmodern worlds of San Juan and New York City, her work merits formal scrutiny. This paper will add to the diverse histories of Abstract Expressionism and mid-century Modernisms across the Americas while shedding light on an important post-war historical moment and artistic impulse that held on to anti-commercial values in an all-encompassing consumerist world. Full article

Mangroves are areas that connect the land and sea, and are important to the ecosystem. They are important places for food sources and the habitat of aquatic fauna in the tidal areas. However, the existence of plastic debris poses a risk to the aquatic environment. This study aimed to investigate the accumulation of microplastics (MPs) in sediment cores from two mangrove areas. The first mangrove area is in the outer section of the Songkhla lagoon (SK), while the second is in the coastal area of Pattani province (PN). Sediment core sampling was performed from SK = 8 stations and PN = 5 stations. Surface enrichment of MP was observed, especially in sediments of 0–4 cm. MPs were found throughout the depth in both areas, while fewer MPs were found in deeper sediment core layers (p < 0.05) at some stations inside the mangrove zone. Simple linear regression of the observed MPs and distance in the horizontal were found to be significant at SK within the mangrove zone with r² = 0.79 (p < 0.05). MP fibers were the most commonly found MP type in both areas and were less than 1 mm. Blue and black MPs were the most abundant colors found in both areas. The six polymer types reported in this study comprised polyethylene, rayon, rubber, styrene, Poly (vinyl acetate), and paint. The findings of the present study suggest that long-term monitoring of marine debris along coastlines is necessary to help improve national policies and measures related to marine plastic debris. Full article

A modern painting is characterized by multi-material bases extremely exposed to biodeteriogenic attacks. The aim of this work was to test the antifungal effectiveness of a natural, eco-friendly, and safe emulsion based on Citrus aurantium L. var. amara hydrolate and Cinnamomum zeylanicum Blume (from bark) essential oil, named “Zeylantium green emulsion” (Zege), on modern paintings. Colored unaged and aged canvas samples, performed with modern techniques (acrylic, vinylic and alkyd), were used to test in vitro both the antifungal effectiveness of Zege and its impact on the chemical–physical characteristics. Microbiological tests were performed according to the EUCAST international guidelines. pH measurements and colorimetric analysis were performed on unaged and aged canvases before and after Zege spray treatment. Finally, in situ tests were performed using the spray emulsion on canvas samples obtained from Ilaria Margutti’s modern artwork, which had been colonized by molds. Microbiological tests on canvas prototypes showed a time- and dose-dependent effectiveness of the Zege spray. None of the techniques underwent relevant changes in pH. Only the acrylic colors were unaffected in the colorimetric analysis, among all colored unaged or aged canvases. Tests made with modern artwork samples confirmed the in situ antifungal effectiveness. The Zege spray showed encouraging results in regard to the use of this formulation in the restoration of modern paintings. Full article

This contribution focuses on the conservation of an Egyptian wooden sculpture (Inventory Number Cat. 745) belonging to the Museo Egizio of Torino in northwest Italy. A preliminary and interdisciplinary study of constituent painting materials and their layering is here provided. It was conducted by means of a multi-technique approach starting from non-invasive multispectral analysis on the whole object, and subsequently, on selected micro-samples. In particular, visible fluorescence induced by ultraviolet radiation (UVF), infrared reflectography (IRR) and visible--induced infrared luminescence were used on the whole object. The micro-samples were analysed by means of an optical microscope with visible and UV light sources, a scanning electron microscope (SEM) with an energy-dispersive X-ray spectrometer (EDX), Fourier transform infrared (FT-IR) spectrometer, pyrolysis-gas chromatography/mass spectrometer (Py-GC/MS) and micro-particle induced X-ray emission (PIXE). The characterization of the painting materials allowed the detection of Egyptian blue and Egyptian green, and also confirmed the pertinence of the top brown layer to the original materials, which is a key point to design a suitable surface treatment. In fact, due to the water sensitiveness of the original materials, only few options were available to perform cleaning operations on this artwork. To setup the cleaning procedure, we performed several preliminary tests on mockups using dry cleaning materials, commonly used to treat reactive surfaces, and innovative highly water retentive hydrogels, which can potentially limit the mechanical action on the original surface while proving excellent cleaning results. Overall, this study has proved fundamental to increase our knowledge on ancient Egyptian artistic techniques and contribute to hypothesize the possible provenance of the artefact. It also demonstrated that polyvinyl alcohol-based retentive gels allow for the safe and efficient cleaning of extremely water sensitive painted surfaces, as those typical of ancient Egyptian artefacts. Full article