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The conservation-restoration of panel paintings involves preventive and treatment measures taken by paintings conservators to slow deterioration, preserve, and repair damage. Panel paintings consist of a wood support, a ground (linen or parchment sized with glues, resin, and gesso), and an image layer (encaustic, tempera, oil). [1]
Waterlogged wood is a wooden object that has been submerged or partially submerged in water and has affected the original intended purpose or look of the object. . Waterlogged wood objects can also include wood found within moist soil from archaeological sites, underwater archaeology, maritime debris, or damaged w
Mummy portrait of a girl, AD 120–150, Roman Egypt, wax encaustic painting on sycamore wood. Encaustic is a method of painting that involves dry pigments mixed with hot beeswax, then applied to the surface of a support such as wood or canvas. A completed painting is then finished by taking a source of heat to reheat the surface and fuse it ...
The minimalist approach to the conservation of paintings involves mitigating structural changes in loose linings, backboard, and frame glazing. These methods involve controlling environmental conditions in order to slow physical deterioration. Lining an entire painting has largely fallen out of favor due to the invasive nature of the treatment.
Water damage describes various possible losses caused by water intruding where it will enable attack of a material or system by destructive processes such as rotting of wood, mold growth, bacteria growth, rusting of steel, swelling of composite woods, de-laminating of materials such as plywood, short-circuiting of electrical devices, etc.
The removal method is controlled by the type of penetrant used. Water-washable, solvent-removable, lipophilic post-emulsifiable, or hydrophilic post-emulsifiable are the common choices. Emulsifiers represent the highest sensitivity level, and chemically interact with the oily penetrant to make it removable with a water spray. When using solvent ...
During the 18th century, new techniques were perfected for the restoration and conservation of ancient works of art, including methods of detaching fresco paintings from walls. Detachment involves separating the layer of paint from its natural backing, generally stone or brick, and can be categorized according to the removal technique used.
(The Queen of Sheba in) Adoration of the (Holy) Wood. Inpainting is rooted in the conservation and restoration of paintings. Inpainting can aim to make a visual improvement to the artwork as a whole by repairing missing or damaged parts using methods and materials equivalent to the original artist's work. [12]