This study presents the results of a non-invasive analytical investigation into eight varnished modern paintings from the Norwegian National Museum, dating from 1966 to 1982. These works, executed in either waterborne acrylic dispersion resin or polyvinyl acetate (PVAc) media, have not been examined before. They form part of a broader research initiative aimed at documenting the use and degradation of synthetic, waterborne varnishes over acrylic and vinyl paints in the context of Norwegian modern art, and the implications for conservation treatments. The eight paintings were examined through the mobile laboratory (MOLAB) platform of the European infrastructure for Heritage Science (E-RIHS). Multiple com- plementary techniques, including optical coherence tomography (OCT), external reflection infrared spec- troscopy (ERIRS), x-ray fluorescence (XRF) mapping and optical micro-profilometry, were employed to identify binders and pigments, assess varnish thickness and distribution and document the layer struc- ture without sampling. The results of a central case study, Winter Sun , 1966, by Gunnar S. Gundersen (1921–1983) (MS-02579-2988, acrylic on canvas, 165 ×110 cm), are presented including characterisation of the layer structure, and identification of the paint and varnish compositions. Comparative analysis between the case study paintings highlights both prevalences and differences within the materials used, informing material history and artistic practices within the mid-century Norwegian context. This in turn informs conservation approaches to the as-yet unresolved challenge of varnish re- moval from waterborne modern paints. The findings have the potential to inform the future design of representative mock-ups to test potential varnish removal systems. This multimodal, non-invasive ap- proach offers new tools for understanding artist materials and supports conservation decision-making by clarifying when and how varnish removal may be appropriate.

Non-invasive characterisation of varnished modern paintings: comparative insights and conservation implications / Laura Homer,Piotr Targowski, Magdalena Kowalska, Magdalena Iwanicka, Francesca Rosi, Laura Cartechini, David Buti, Haida Liang, C.S. Cheung, Florence Liggins,Patrick Atkinson, Raffaella Fontana,Emma Vannini, Irene Lunghi, Georgios Karagiannis, Theodoros Karagiannis, Angelica Bartoletti, Bronwyn Ormsby. - In: JOURNAL OF CULTURAL HERITAGE. - ISSN 1778-3674. - ELETTRONICO. - (2025), pp. 127-139. [10.1016/j.culher.2025.11.007]

Non-invasive characterisation of varnished modern paintings: comparative insights and conservation implications

David Buti;Raffaella Fontana;Emma Vannini;Irene Lunghi;
2025

Abstract

This study presents the results of a non-invasive analytical investigation into eight varnished modern paintings from the Norwegian National Museum, dating from 1966 to 1982. These works, executed in either waterborne acrylic dispersion resin or polyvinyl acetate (PVAc) media, have not been examined before. They form part of a broader research initiative aimed at documenting the use and degradation of synthetic, waterborne varnishes over acrylic and vinyl paints in the context of Norwegian modern art, and the implications for conservation treatments. The eight paintings were examined through the mobile laboratory (MOLAB) platform of the European infrastructure for Heritage Science (E-RIHS). Multiple com- plementary techniques, including optical coherence tomography (OCT), external reflection infrared spec- troscopy (ERIRS), x-ray fluorescence (XRF) mapping and optical micro-profilometry, were employed to identify binders and pigments, assess varnish thickness and distribution and document the layer struc- ture without sampling. The results of a central case study, Winter Sun , 1966, by Gunnar S. Gundersen (1921–1983) (MS-02579-2988, acrylic on canvas, 165 ×110 cm), are presented including characterisation of the layer structure, and identification of the paint and varnish compositions. Comparative analysis between the case study paintings highlights both prevalences and differences within the materials used, informing material history and artistic practices within the mid-century Norwegian context. This in turn informs conservation approaches to the as-yet unresolved challenge of varnish re- moval from waterborne modern paints. The findings have the potential to inform the future design of representative mock-ups to test potential varnish removal systems. This multimodal, non-invasive ap- proach offers new tools for understanding artist materials and supports conservation decision-making by clarifying when and how varnish removal may be appropriate.
2025
127
139
Laura Homer,Piotr Targowski, Magdalena Kowalska, Magdalena Iwanicka, Francesca Rosi, Laura Cartechini, David Buti, Haida Liang, C.S. Cheung, Florence ...espandi
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Utilizza questo identificatore per citare o creare un link a questa risorsa: https://hdl.handle.net/2158/1442794
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