Abstract
The structural conservation of canvas paintings may require lining, a process in which a secondary canvas is adhered to the reverse of the damaged original canvas to provide additional support. Choosing the optimum adhesive or canvas for lining is challenging. Comprehensive data on thermal and mechanical behaviour of different adhesives to enable the conservator to make informed choices for their treatment purposes is scarce. Hence, in this study, four prevalently used adhesives for lining are chosen and their thermal and mechanical behaviour, such as the glass transition and melting temperatures, static lap shear strength and creep resistance, are compared. Thermal properties of the different adhesives are characterised using differential scanning calorimetry (DSC). Furthermore, the effect of temperature cycles (25, 35, and 45°C at a fixed relative humidity of 48%) on the creep behaviour of lined canvases is evaluated. Lap shear and creep experiments are performed on lined canvas mock-ups. The four adhesives tested are: studio formulations of an animal glue-wheat flour paste, as well as a beeswax-damar resin mixture; a patented formula based on an ethylene vinyl acetate copolymer mixture (BEVA 371 O.F.™); and a mixture of two industrially produced acrylic copolymers (Plextol™ D541 and K360). The results demonstrate the remarkable effect of temperature on the creep behaviour of lined canvases, which can be related to their thermal stability.
Highlights
A large variety of adhesive products are generally available for conservation of paintings on canvas
The four adhesives tested are: studio formulations of an animal glue-wheat flour paste, as well as a beeswaxdamar resin mixture; a patented formula based on an ethylene vinyl acetate copolymer mixture (BEVA 371 O.F.TM); and a mixture of two industrially produced acrylic copolymers (PlextolTM D541 and K360)
[3] The four adhesives tested are: studio formulations of an animal glue-wheat flour paste (GP), as well as a beeswax-damar resin mixture (WR); [4] a patented formula based on an ethylene vinyl acetate (EVA) copolymer mixture (BEVA 371 O.F.TM); and a mixture of two industrially produced acrylic copolymers (PlextolTM D541 and K360)
Summary
A large variety of adhesive products are generally available for conservation of paintings on canvas These can be natural or synthetic, studio formulated, engineered for the field, or commercially /industrially produced. These adhesives used for conservation/restoration purposes are mainly water or solvent-based materials. Conservators use these adhesives based on their experience in an empirical manner Such is the case for lining structurally impaired paintings on canvas. This paper focuses on the characterisation of prevalently used adhesive mixtures for the lining of paintings This process aims to strengthen, flatten, or consolidate oil, acrylic or tempera paintings on canvas by attaching a new canvas to the reverse of the existing one. The purpose of this paper is to evaluate the thermal and mechanical performance of these four different
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
