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Badanie osłon odwroci obrazów malowanych na płótnie

100%

Rouba B.

Ochrona Zabytków

1990

nr 2

66-78

The protection of the reverse side of canvas paintings as a method of their preservation has been known for a long time. The problem has often been discussed in literature on preservation. The author presents the views of various authors on this subject. In order to determine and compare the qualities of some of the materials recommended by literature as a covering for the paintings' reverse sides, studies were carried out of the influence of humidity and temperature changes on the canvas and the paint layer. The obtained results confirm the weight and influence of the base on which the painting is hanging, the microclimate behind the painting, at the same time confirming the great influence of the base on the course of the damage process. Materials that are excessively hygroscopic (soft cardboard, fibreboard etc.) should be considered very dangerous regardless of whether they are used as a covering, or constitute the construction on which the paintings are hanging (e.g. the divisions of exhibition rooms made ot tibreboard). The studies confirmed the unusual qualities of wood as covering material, known from preservation experience, old sources of information and contemporary literature. Wood not only levels out humidity changes, but also temperature changes, to a greater degree than any other material. Analysis of the literature, the results of studies on the qualities of the coverings and their influence on the formation of the microclimate behind the painting, the results of studies of many paintings and the author's own experiences have led her to conclusions that can be applied to preservation practices. These deal with the influence of the painting's surroundings - such as the humidity and the temperature - on the damaging of the painting structure. They also deal with the use of the coverings of the reverse sides as a method to counteract these damages.

Wpływ zjawisk elektrostatycznych na brudzenie się werniksów z żywic sztucznych

63%

Rouba B. , Łukaszewicz J.

Ochrona Zabytków

1982

nr 1-2

103-111

The article is a summary of the work published in academic books of the Copernicus University in Toruń. Basing on th e observations and experience the authors put forward a hypothesis th a t the main reason of a rapid soiling of varnishes from synthetic resins is their proneness to produce and acculmulate electrostatic charge. It has been proved experimentally th a t th a t is so; moreover, the factors determining th e level of the charge accumulated have been determined. F urthe r in the work the authors made an attempt to employ industrial methods of the elimination of eelectrostatic charge for conservation purposes. After selecting a method of antielectrostatic preparation and establishing the criterious which should be met by preparations seven substances have been chosen. Then, the effectiveness of th e ir electrostatic activity has been checked on films of th ree varnishes th a t are used most frequently as conservation varnishes. The analysis of the results obtained in individual stages of work made it possible to state th a t the original and most important cause of the soiling of varnishes is th e ir electrostatic charging th a t in practice takes place even under th e effect of thermogravitational movements of the air. The dirt re maining on the surface of the warnish stays glued into it because of low melting temperatures of substances used to make varnishes. It is difficult for conservators alone to eliminate this great disadvantage of synthetic varnishes. Their manufactures must also work on this problem and it is from them th a t one should expect works on the possibilities of modifying electrostatic resins already at the stage of their polymerization. If this problem is not solved th a n it will be necessary once again to ask about profits and losses and thus about a justification for the use of varnishes from synthetic resins in conservation.