Abstract
This paper deals with the widespread use of unusual substitute materials in paintings. In particular, it discusses historical and technological issues related to Socialist Realist painting and the uniquely rich and powerful techniques employed by artists in eastern Europe in the 1950s. During that period, practically any kind of ordinary material might be used to make a work of art. Without understanding the particular working methods involved, appropriate conservation is very difficult. These unconventional materials and techniques are discussed on the basis of literature research, interviews with artists and their families, and the examination and conservation of actual artworks.
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