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Interpreting the surface: the application of surface science to artists' acrylic emulsion paint films

解读表面：表面科学在艺术家丙烯酸乳液漆膜中的应用

基本信息

批准号：
AH/H032436/2
负责人：
Elizabeth Willneff
金额：
$ 4.31万
依托单位：
University of Leeds
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2014
资助国家：
英国
起止时间：
2014 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH032436%2F2
关键词：
Interpreting surface application science artists

项目摘要

Artists' acrylic emulsion paints gained popularity in the early 1960s, after production began in the mid 1950s. Today, acrylic paints sell equally to oil paints and acrylic emulsion-based works of art continue to form significant proportions of modern and contemporary art collections. Well-known users include David Hockney, Andy Warhol, Roy Lichtenstein, Bridget Riley, Patrick Caulfield and John Hoyland. Some of the oldest acrylic emulsion paintings are beginning to require conservation treatment as distracting marks, deposited soiling, loss of surface gloss and decreased colour saturation become increasingly apparent.It is therefore proposed to carry out systematic investigations of the surfaces of acrylic emulsion paint films, as this is where the cumulative effects of exposure to light, soiling, pollutants, accidents, environment, conservation treatments and migrated materials become concentrated. As yet the variety of materials present on the surfaces of these paints have not been fully characterised and the nature of the interactions between migrated surfactant and deposited soiling have not been explored. The mechanisms and consequences of the degradation of surfactants with light exposure (display) have also to be determined, including whether degradation is dependent on pigment type, and whether there are any consequences of the removal of surfactant (through conservation treatment and/or display) on the underlying paint surfaces. It is essential to establish for example, whether the removal of surfactant enhances the vulnerability of paint surfaces to subsequent light/soiling exposure. Equally, it is important to document the consequences of leaving surfactant and soiling on the surface of these relatively soft paint films, as there is a risk that soiling can become permanently embedded into the paint surface.The proposal combines the expertise and knowledge available at the scientific departments at both Tate and the Getty Conservation Institute with the instrumentation and surface analysis expertise available at the Department of Chemical Engineering and Analytical Science (CEAS) at The University of Manchester University. Our understanding of the vulnerability of these paint surfaces will be enhanced through the scientific technologies and methodologies that will be applied to these paints for the first time. Research results will significantly contribute to determining best practice for the reliable care and conservation of these unique and increasingly valuable modern and contemporary works of art; thereby helping to ensure their survival into the future.

艺术家的丙烯酸乳胶漆在20世纪50年代中期开始生产后，在20世纪60年代初变得流行起来。今天，丙烯酸涂料的售价与油彩不相上下，以丙烯酸乳液为基础的艺术品继续在现当代艺术收藏中占据相当大的比例。知名用户包括大卫·霍克尼、安迪·沃霍尔、罗伊·利希滕斯坦、布里奇特·莱利、帕特里克·考尔菲尔德和约翰·霍兰德。一些最古老的丙烯酸酯乳胶漆开始需要进行保护处理，因为分散的痕迹、沉积的污垢、表面光泽的损失和颜色饱和度的下降变得越来越明显。因此，建议对丙烯酸酯乳胶漆表面进行系统的调查，因为这是暴露于光、污垢、污染物、事故、环境、保护处理和迁移材料的累积影响集中的地方。到目前为止，这些涂料表面存在的各种材料还没有得到充分的表征，迁移的表面活性剂和沉积污垢之间相互作用的性质也还没有被探索。表面活性剂在光照(显示)下降解的机理和后果也必须确定，包括降解是否取决于颜料类型，以及表面活性剂的去除(通过保护处理和/或显示)是否会对底层涂料表面产生任何影响。例如，必须确定表面活性剂的去除是否会增加油漆表面在随后的光照/污染暴露下的脆弱性。同样，记录在这些相对柔软的漆膜表面留下表面活性剂和污垢的后果也很重要，因为污垢可能会永久嵌入油漆表面。该提案结合了泰特和盖蒂保护研究所科学系提供的专业知识和曼彻斯特大学化学工程与分析科学系(CEAS)提供的仪器和表面分析专业知识。通过将首次应用于这些涂料的科学技术和方法，我们将加强对这些涂料表面脆弱性的了解。研究成果将极大地有助于确定可靠地保护和保存这些独特且越来越有价值的现代和当代艺术作品的最佳做法；从而有助于确保它们在未来的生存。