Conservation of Modern Oil Paintings

Preface
	Modern Oil Paints
	CMOP and ICOP
		Paint Technology
		Case Studies: Artists Techniques and Materials, Degradation, Ethical Considerations and Treatment Options
		Model Studies
		Conservation Treatment
	Reference
Contents
Chapter 1: Challenges in Research: Connecting Scientific Analysis with Conservation Practice
	1.1 Introduction
	1.2 Material Characterisation of Paintings
	1.3 Paint Samples and Reconstructions
	1.4 Defining Aims for Treatment
	1.5 Ethical and Practical Issues for Cleaning Unvarnished Water Sensitive Paintings
	1.6 Conclusions and Further Research
	References
Chapter 2: Evaluating Cleaning Systems for Use on Water Sensitive Modern Oil Paints: A Comparative Study
	2.1 Introduction
	2.2 Methodology
		2.2.1 Paint Samples
		2.2.2 Cleaning Materials
		2.2.3 Evaluation Methodology
			2.2.3.1 Star Diagrams
			2.2.3.2 Instrumentation
	2.3 Results and Discussion
		2.3.1 Free Aqueous Solvents
			2.3.1.1 Adjusting pH and Conductivity (Adjusted Waters)
			2.3.1.2 Adding Surfactants
			2.3.1.3 Adding Chelators
			2.3.1.4 Summary of Free-Aqueous Systems
		2.3.2 Rigid Hydrogels
		2.3.3 Non-polar Organic Solvents
		2.3.4 Water-in-Oil Microemulsions
		2.3.5 Silicone Emulsifiers
		2.3.6 Application Methods
		2.3.7 Residues
		2.3.8 Optimal Systems for Each of the W&N Paints
	2.4 Conclusions
	References
Part I: Paint Technology
	Chapter 3: Pigment Surface Treatments: 20th and 21st Century Industrial Techniques and Strategies for their Detection
		3.1 Introduction
		3.2 PART I: Background on Pigment Surface Treatments
			3.2.1 Materials and Applications
				3.2.1.1 During-Synthesis
				3.2.1.2 Post-Synthesis
		3.3 Part II: The Identification of Pigment Surface Treatments
			3.3.1 Pigment Selection
			3.3.2 Analytical Methodology
		3.4 Results and Discussion
			3.4.1 Hansa® Yellows – PY3 and PY74
			3.4.2 Cu-Phthalocyanine Blue
			3.4.3 Synthetic Ultramarine Blue
			3.4.4 Vine Black
			3.4.5 Umber
			3.4.6 Lead White
			3.4.7 Zinc White
			3.4.8 Titanium White
		3.5 Conclusions
		Appendix
		References
	Chapter 4: Meet the Future: The Creation of New Pigments
		4.1 Introduction
		4.2 Chrome- and Cadmium Yellows: Legislation, Prohibition and Alternatives
		4.3 Substitutes for Cadmium Pigments in Artists’ Paints
		4.4 New Developments in the Twenty-First Century
		4.5 Rutile Tin Zinc Oxides (RTZ)
		4.6 Properties and Applications of the Rutile Tin Zinc Oxides
		4.7 Rutile Tin Zinc Oxide in Art
		4.8 Niobium Tin Pyrochlore (NTP)
		4.9 Properties and Applications of NTP Yellow
		4.10 YInMn Blue
		4.11 Properties and Applications of YInMn Blue
		4.12 YInMn Blue in Art
		4.13 Vantablack
		4.14 Properties of Vantablack
		4.15 Other Applications of Vantablack and Vantablack S-VIS
		4.16 Artists’ Use of Super-Black Pigments
			4.16.1 Frederik De Wilde
			4.16.2 Anish Kapoor
			4.16.3 Yves Klein
			4.16.4 Stuart Semple
		References
	Chapter 5: Zinc Oxide in Oil-Based House Paint: Insights from a Paint Chemist’s Notebook Dated 1949
		5.1 Introduction
		5.2 Mid Twentieth Century Australian Paint Industry
		5.3 Zinc Oxide Pigment
		5.4 Pigment Volume Ratio
		5.5 Driers
		5.6 Stand Oil
		5.7 Oil Acid Value
		5.8 Conclusion
		References
	Chapter 6: A Glimpse into the House and Decorative Paint Market in Norway During World War I (1914–1918)
		6.1 Introduction
		6.2 Method and Sources
		6.3 Oils Used in Paint in the Early Twentieth Century
		6.4 Ready-Made House Paints
		6.5 Linseed Oil Regulations in Norway During World War I
		6.6 Surrogate Products
		6.7 Availability of Binders
		6.8 Consequences for Today
		6.9 Conclusion
		References
	Chapter 7: Approaches to the Identification of Royal Talens ETA (Emulsion) Paint in Objects of Art
		7.1 Introduction
		7.2 The Life of ETA: From a New Product to Discontinuation
		7.3 Available Sources in the Royal Talens Archive
		7.4 The Composition of ETA
			7.4.1 The Binding Medium
			7.4.2 Pigments and Additional Materials
		7.5 Analysis of ETA in Historical Paint Samples
			7.5.1 X-Ray Fluorescence Spectroscopy
			7.5.2 Raman Spectroscopy
			7.5.3 Pyrolysis-Gas Chromatography/Mass Spectrometry
		7.6 Conclusion
		References
	Chapter 8: Synthetic Organic Pigments in Talens Oil Paint 1920–1950 – The Case of Vermillion imit
		8.1 Introduction
		8.2 Talens’ Historical Dealings with SOPs
		8.3 Methodology
			8.3.1 Logbooks and Paint References
			8.3.2 Analyses
		8.4 Case Study: Vermiljoenrood Licht Imitatie – Vermilion Red Light Imitation
			8.4.1 Recipes in Talens’ Logbooks
			8.4.2 Vermilion Substitution in the Art-Technological Context
			8.4.3 Analyses
			8.4.4 Discussion
		8.5 Conclusion and Future Work
		Appendix
		References
Part II: Case Studies: Artists Techniques and Materials; Degradation; Ethical Considerations; Treatment Options
	Chapter 9: Ellsworth Kelly: The Studio and Beyond
		9.1 Introduction
		9.2 The Artist
		9.3 Studio Practice
		9.4 The Materials
			9.4.1 Stretchers
			9.4.2 Fabric Supports
			9.4.3 Grounds
			9.4.4 Paint
			9.4.5 Varnish
			9.4.6 Edges
			9.4.7 Backs
		9.5 Condition Issues
			9.5.1 Handling Damage
			9.5.2 Material and Environmental Degradation
		9.6 Historical Structural Treatments
		9.7 Conservators
		9.8 Conclusion
		References
	Chapter 10: A New Vocabulary of Color: Bocour Oil Paints and Barnett Newman
		10.1 Introduction
		10.2 Methods of Analysis
		10.3 Results and Discussion
		10.4 Conclusions
		References
	Chapter 11: Analysis of Modern Paints and Conservation at the Clyfford Still Museum
		11.1 Introduction
		11.2 Artist Materials, Technique, and Storage
		11.3 Condition Issues, Interpretation, and the Role of the Conservator
		11.4 Case Studies
			11.4.1 PH-1142 (1957)
			11.4.2 PH-247 (1951)
			11.4.3 PH-891 (1972)
			11.4.4 PH-254 (1945)
		11.5 Conclusion
		References
	Chapter 12: Pigments of Soviet Artists in the 1950s – Late 1970s
		12.1 Introduction
		12.2 Materials and Methods
		12.3 Results and Discussion
			12.3.1 Ground Content
			12.3.2 Pigments
		12.4 Summary
		References
	Chapter 13: A View Through the Meander: A Conservation Study of Knifer’s Oil Paintings from the 1960s
		13.1 Introduction
		13.2 Conservation Methods Applied to Selected Paintings
		13.3 Methods of Removing Dirt, Overpaint and Varnish
			13.3.1 Removing Dirt
			13.3.2 Removing Overpaint
			13.3.3 Removing Varnish
		13.4 Concluding Thoughts
		References
	Chapter 14: Preservation of Russian Abstract Art of the Second Part of the Twentieth Century
		14.1 Introduction
		14.2 Historical Context
		14.3 Art Technique
		14.4 Case Study. Composition by Lucian Gribkov (1962). Oil on Canvas, 173 × 70 cm
		14.5 Conservation Issues
		14.6 Conclusion
		References
	Chapter 15: Investigating Colour Changes in Red and Blue Paints – A Preliminary Study of Art Materials and Techniques in Edvard Munch’s Old Man in Warnemünde (1907)
		15.1 Background
		15.2 Sampling and Analytical Techniques
		15.3 Results
		15.4 Discussion of Results
		15.5 Conclusions
		References
	Chapter 16: Aspects of Lovis Corinth’s Painting Technique in His Late Work: Working Process and Colour Structure Captured in Paint and on Film
		16.1 Introduction
		16.2 The Painting Walchensee, Landschaft mit Kuh, Part of the Series of Lake Walchensee Landscapes
			16.2.1 Techniques of Painting
			16.2.2 Brushstrokes with Heterogenous Colour Mixing
			16.2.3 Dragged Brushstrokes
		16.3 Corinth Filmed at Work
			16.3.1 Hans Cürlis and His Cinematographic Work ‘Creating Hands’
			16.3.2 The Film Footage as an Art-Technological Source
			16.3.3 Aspects of the Filmed Working Process
			16.3.4 Brushstrokes with Heterogenous Colour Mixing
			16.3.5 A Dragged Brushstroke
		16.4 Conclusion
		References
	Chapter 17: Oil Paint Straight from the Tube: Paint-Specific Deterioration in Works by Alexis Mérodack-Jeaneau, 1910–1913
		17.1 Introduction
		17.2 Alexis Mérodack-Jeaneau (1873–1919)
			17.2.1 Corpus
		17.3 Materials
			17.3.1 Supports
			17.3.2 Paint Layer
		17.4 Degradation Phenomena
		17.5 Analysis and Diagnosis
			17.5.1 Grounds
			17.5.2 Colours
		17.6 Conservation Treatment
		17.7 Conclusion
		Appendix: Experimental Details for Analysis
		References
	Chapter 18: Picasso 1917: An Insight into the Effects of Ground and Canvas in the Failure Mechanisms in Four Artworks
		18.1 1917 Paintings
		18.2 Materials and Methods
		18.3 Results and Discussion
			18.3.1 Analysis of Canvas
			18.3.2 Analysis of Ground Layers
		18.4 Conclusion
		References
	Chapter 19: Investigation on the Speckles Syndrome Affecting Late 1920s Oil Paintings by René Magritte
		19.1 Introduction
		19.2 Experimental
		19.3 Insight into Past Environmental Conditions
		19.4 Speckles Syndrome
		19.5 Painting Materials
		19.6 Degradation Products
		19.7 Conclusions
		References
	Chapter 20: Examination of Paint Delamination in C’est grace à nous by Asger Jorn
		20.1 Delamination or Cleavage Linked to Soft Paint
		20.2 Results
		20.3 Discussion
		20.4 Treatment, Tests and Choices
		20.5 Conclusion
		20.6 Analytical Techniques
			20.6.1 Scanning Electron Microscopy Energy Dispersive X-Ray Spectroscopy (SEM-EDX)
			20.6.2 Fourier-Transform Infrared Spectroscopy (FTIR)
			20.6.3 Direct Temperature Resolved Mass Spectrometry (DTMS)
		References
	Chapter 21: A Synchrotron Photoluminescence Microscopy Study into the Use and Degradation of Zinc White in ‘The Woodcutters’ by Bart van der Leck
		21.1 Introduction
		21.2 Experimental
			21.2.1 Sample Preparation
			21.2.2 Instrumental Analysis
			21.2.3 Image Processing & Statistical Analysis
		21.3 Results
			21.3.1 Instrumental Analysis
			21.3.2 Image Processing & Statistical Analysis
		21.4 Discussion
			21.4.1 Explaining Differences in Luminescence on the Macroscale
			21.4.2 Assessing Surface Degradation Phenomena
		21.5 Conclusion
		References
	Chapter 22: ‘Breaking Waves’. The Relation Between Zinc-Oxide Degradation and Extreme Delamination from the Panel Support of Beach Scene, by J.E.H. Akkeringa (1861–1942)
		22.1 Introduction
		22.2 Results
		22.3 Discussion
		22.4 Conclusion
		Appendix
		References
	Chapter 23: Efflorescence on the Paintings of Edwin Austin Abbey: Examination, Analysis, and Cleaning of Surface Bloom on The Spirit of Light
		23.1 Introduction
		23.2 Painting Materials and Technique
		23.3 Visual Characteristics, Morphology, and Identification of Efflorescent Material
		23.4 Cleaning Approaches
		23.5 Discussion and Conclusions
		References
	Chapter 24: A Study of Softening and Liquefying Oil Paint on Womenizer by Alex Janvier
		24.1 Introduction
		24.2 History and Condition of the Painting
		24.3 Methods of Analysis
		24.4 Results
			24.4.1 Overall Composition of the Paint and Ground
			24.4.2 Overall Fatty Acid Profile of the Oil
			24.4.3 Extractable Fraction of the Oil
		24.5 Discussion
			24.5.1 The Effect of the Original Materials
			24.5.2 Environmental Factors
			24.5.3 Implications for Conservation Treatment
		24.6 Conclusions
		Appendix: Experimental Details
		References
	Chapter 25: The Deterioration and Treatment of Some Late Paintings by Paul-Émile Borduas
		25.1 Introduction
		25.2 Materials and Technique
		25.3 Paint Instability and Disfiguring Alterations
		25.4 Past Analytical Studies
		25.5 Ivory Black Mock-Ups
		25.6 Past Structural Treatments
		25.7 Local Consolidation
		25.8 Conclusions and Future Work
		References
	Chapter 26: Colors Before Zero: Commercial Alkyd-Oil Enamel Paints in Early Reliefs by Jan J. Schoonhoven
		26.1 Introduction
		26.2 Research Questions and Approach
		26.3 Analytical Methods
		26.4 Results Summary
			26.4.1 Postoffice
			26.4.2 Ippolito
			26.4.3 Vochanan
		26.5 Conclusions
		References
	Chapter 27: Some Considerations When Cleaning Robert Ryman’s Oil Paint(ings)
		27.1 Introduction
		27.2 About the Artist
		27.3 Ryman’s Paintings
		27.4 Ryman’s Intent
		27.5 White Paintings
		27.6 Patina, Changes and Signs of Age
		27.7 Case Study
		27.8 Concerns
		27.9 Technical Analyses – The Fluorescing Paint Surface
		27.10 Discussion and Conclusions
		References
	Chapter 28: Challenges of Surface Cleaning Paintings by Asger Jorn (1914–1973): An Inventory of Existing Practice
		28.1 Introduction
		28.2 Methodology
		28.3 Jorn’s Materials and Working Methods
		28.4 Surface Phenomena
		28.5 Surface Cleaning Treatments
		28.6 Conclusion
		References
	Chapter 29: Decision-Making Processes Regarding the Treatment of Modern Oil Paintings (1950s–Present) Exhibiting Paint Dripping and Oil Exudates
		29.1 Introduction
		29.2 Appearances and Characteristics
		29.3 Causes, Consequences and Treatments
		29.4 Removal of Actively Dripping Exudates
		29.5 Removal of Older Exudates
		29.6 A Broader Perspective
		29.7 Conclusion
		References
	Chapter 30: Between Rejection, Ignorance, and Preference: The History and Dilemma of Modern Double-Sided (Recto/Verso) Paintings with Regard to Issues of Conservation and Presentation
		30.1 The Artist’s Point of View – Various Reasons for the Rejection of Paintings
		30.2 History of the Presentation of Modern Recto/Verso Paintings
		30.3 Different Approaches Regarding the Exhibition of Discarded Verso Paintings
		30.4 Conclusions
		References
Part III: Model Studies
	Chapter 31: Time-Gated Photoluminescence Microscopy as an Emerging Method for the Study of Paint Cross-Sections
		31.1 Introduction
		31.2 Materials and Methods
		31.3 Results
		31.4 Conclusion
		References
	Chapter 32: Mechanical and Moisture Sorption Properties of Commercial Artists’ Oil Paint by Dynamic Mechanical Thermal Analysis (DMA), Nanoindentation, and Dynamic Vapour Sorption (DVS)
		32.1 Introduction
		32.2 Materials and Methods
			32.2.1 Test Samples
			32.2.2 Dynamic Mechanical Analysis (DMA)
			32.2.3 Dynamic Vapour Sorption (DVS)
			32.2.4 Ultra Nanoindentation Tester (UNHT)
		32.3 Results and Discussion
			32.3.1 Dynamic Mechanical Analysis (DMA)
			32.3.2 Dynamic Vapour Sorption (DVS) and Nano-indentation (UNHT)
		32.4 Conclusions
		References
			Materials:
	Chapter 33: A Preliminary Investigation into the Behavior of Modern Artists’ Oil Paints in a Hot and Humid Climate
		33.1 Introduction
		33.2 Background
		33.3 Experimental
			33.3.1 Artists’ Oil Paints
			33.3.2 Project Design and Methods
			33.3.3 Optical Microscopy
			33.3.4 Scanning Electron Microscopy
			33.3.5 Fourier Transform Infrared Spectroscopy
			33.3.6 X-Ray Photoelectron Spectroscopy
		33.4 Results and Discussion
			33.4.1 Formulation
			33.4.2 Preliminary Observations of Change
			33.4.3 Reactivity of Magnesium Carbonate Additive
			33.4.4 Reactivity of the Paint Binder
		33.5 Conclusions
		References
	Chapter 34: Inside the Forger’s Oven: Identification of Drying Products in Oil Paints During and After Accelerated Drying with Increased Temperatures
		34.1 Introduction
		34.2 Thermal Treatment of Oil Paints
		34.3 Experimental
			34.3.1 Sample Preparation
			34.3.2 Instrumentation
		34.4 Results and Discussion
			34.4.1 Changes in optical and mechanical properties
			34.4.2 Chemical changes during thermal ageing
			34.4.3 Comparing Accelerated Aged Samples to Beltracchi
		34.5 Reversibility of Colour Changes
		34.6 Conclusions
		References
	Chapter 35: The Influence of Metal Stearates on the Water Sensitivity of Modern Oil Paints
		35.1 Introduction
		35.2 Methodology
		35.3 Results and Discussions
			35.3.1 Water Sensitivity Tests
			35.3.2 GC/MS Analyses
		35.4 Conclusion
		References
	Chapter 36: The Rate of Solvent Action on Modern Oil Paint
		36.1 Introduction
			36.1.1 Influence of Oil Paint Properties on Solvent Action
			36.1.2 Ageing of Oil Paint
			36.1.3 Influence of Solvent Properties on Solvent Action
			36.1.4 Principles of the Process of Dissolution
			36.1.5 Solubility System to Visualise the Rate of Solvent Action
		36.2 Experimental
		36.3 Results and Discussion
			36.3.1 The Swelling Rate of Modern Oil Paint
		36.4 Conclusions
		References
Part IV: Conservation Treatment
	Chapter 37: Water-Sensitivity in Modern Oil Paintings: Trends in Phenomena and Treatment Options
		37.1 Introduction
			37.1.1 Characteristics and Causes of Water-Sensitivity in Modern Oil Paintings
			37.1.2 Approaches to Cleaning
				37.1.2.1 Water-in-Oil Microemulsions
				37.1.2.2 Silicone Systems
			37.1.3 Aims
		37.2 Methodology
			37.2.1 Selection and Examination of Test Paintings
			37.2.2 Analytical Methods and Materials
			37.2.3 Cleaning Materials
				37.2.3.1 Free Aqueous Systems
				37.2.3.2 Rigid Polysaccharide Gels
				37.2.3.3 WiO Microemulsions
				37.2.3.4 Silicone Systems
			37.2.4 Assessment of Cleaning Tests
		37.3 Results and Discussion
			37.3.1 Technical Examination of Test Paintings
			37.3.2 Materials and Techniques of Test Paintings
				37.3.2.1 Clown and Goat
				37.3.2.2 Sick Child
				37.3.2.3 Vase of Flowers
				37.3.2.4 The Pond
				37.3.2.5 Portrait of a Woman
			37.3.3 Evaluation of Cleaning Materials
				37.3.3.1 Free Aqueous Systems
					Surfactants and Chelator Solutions at Set pH and Conductivity
				37.3.3.2 Application Methods for Aqueous Systems
					Agar
					Gellan
					Silicone Systems
					WiO Microemulsions
		37.4 Conclusions and Further Work
		Appendices
			Appendix 1: Materials and Suppliers
			Appendix 2: Components of WiO Microemulsions and Silicone Emulsifier Gels
				2.1 Microemulsions
				2.2 Silicone Emulsifier Gels
		References
	Chapter 38: Modern Oil Paintings in Tate’s Collection: A Review of Analytical Findings and Reflections on Water-Sensitivity
		38.1 Introduction and Aims
		38.2 Methodology
			38.2.1 Case Study Paintings
			38.2.2 Assessment of Water-Sensitivity
			38.2.3 Sampling Methodology
			38.2.4 Analytical Techniques
				38.2.4.1 Light Microscopy and Cross Section Analysis
				38.2.4.2 Scanning Electron Microscopy Energy Dispersive X-Ray Spectroscopy (SEM-EDX)
				38.2.4.3 Fourier Transform Infrared Spectroscopy (FTIR)
				38.2.4.4 Gas Chromatography Mass Spectrometry (GC-MS)
				38.2.4.5 Electrospray Ionisation Mass Spectrometry (ESI-MS)
				38.2.4.6 Statistical Analysis
		38.3 Results and Discussion
			38.3.1 Aspects that Could Be Correlated to Water-Sensitivity
				38.3.1.1 Colour and Pigment Type
				38.3.1.2 Lean Paints
				38.3.1.3 Epsomite
				38.3.1.4 The Molecular Composition of the Binding Medium
			38.3.2 Aspects Not Directly Correlated with Water-Sensitivity
				38.3.2.1 Other Ageing/Degradation Phenomena
				38.3.2.2 Medium Skins and UV-Fluorescence
				38.3.2.3 Metal Soaps
				38.3.2.4 Other Detected Organic Additives
		38.4 Conclusions
		References
	Chapter 39: Analytical Study to Monitor the Effectiveness of a Combined Liquid-Dispensing and Micro-aspiration System for the Cleaning of Modern Oil Paintings
		39.1 Introduction
			39.1.1 Aims of the Present Study
		39.2 Materials and Methods
			39.2.1 Tailoring the Aqueous System
			39.2.2 Samples
			39.2.3 Instrumentation
				39.2.3.1 Optical Microscopy (OM)
				39.2.3.2 Energy Dispersive X-Ray Fluorescence (ED-XRF)
				39.2.3.3 Electronic Microscopy with Electronic Microprobe (SEM-EDS)
				39.2.3.4 Gas Chromatography – Mass Spectrometry (GC/MS)
		39.3 Results and Discussion
		39.4 Further Developments
		39.5 Conclusions
		References
	Chapter 40: Ketone Resins Varnishes on Canvas Paintings from the Collection of the Munch Museum: An Interdisciplinary Transnational Research Project
		40.1 Introduction
		40.2 AW2 as Varnish Material for Paintings and Conservation
		40.3 The AW2 Varnish Project at Munch Museum
			40.3.1 Collection Survey Outcomes
			40.3.2 Development of an In-House Database of Ketone Resins References
			40.3.3 Paint Mock Ups in White and Blue Colors – Preparation, Varnishing and Light Ageing
			40.3.4 Visual and Microscopic Characterization of Mock-Ups After Varnishing
			40.3.5 Analytical Characterization of Mock-Ups Before and After Ageing
			40.3.6 Multi-Technique Characterization of Ketone Varnishes on Munch’s Paintings
			40.3.7 Short Discussion Around Cleaning Necessity and Options
		40.4 Conclusions
		References
	Chapter 41: Designing Paint Mock-Ups for a Study of Novel Surface Cleaning Techniques for Munch’s Unvarnished Aula Paintings
		41.1 Introduction
		41.2 Background
		41.3 Materials and Methods
			41.3.1 Preparation of Mock-Ups
			41.3.2 Canvas
			41.3.3 Glue Size
			41.3.4 Chalk-Glue Ground
			41.3.5 Oil Paint
			41.3.6 Diluted Oil Paint
			41.3.7 Limitations
		41.4 Further Steps
		41.5 Conclusion
		References
	Chapter 42: Analysis of Cleaning Efficacy and Clearance of Silicone-Based Pickering-Type Emulsions Used in the Cleaning of Water-Miscible Oil Paints
		42.1 Introduction
		42.2 Experiment
			42.2.1 Soiling Protocol
			42.2.2 Cleaning Protocol
		42.3 Results
			42.3.1 Cleaning Efficacy and Clearance
			42.3.2 Surface Morphology
			42.3.3 Cross-Sections
		42.4 Conclusions
		42.5 Further Research
		References
	Chapter 43: Improving the Surface Cleaning of Water Sensitive Oil Paint by Use of Alternative Application Methods
		43.1 Introduction
		43.2 Materials and Methodology
			43.2.1 Sample Preparation
			43.2.2 The Ultrasonic Mister
			43.2.3 Aqueous Solutions
			43.2.4 Hydrogels and Cyclomethicone D5
			43.2.5 Silicone Emulsion
			43.2.6 Evaluation Methodology
		43.3 Results and Discussion
			43.3.1 Aqueous Solutions
			43.3.2 Silicone Emulsion
			43.3.3 Agar Gels
			43.3.4 Xanthan Gels
		43.4 Conclusions
		Materials and Suppliers
		References
	Chapter 44: Evolon® CR Microfibre Cloth as a Tool for Varnish Removal
		44.1 Introduction
		44.2 Methodology
			44.2.1 Case Study Assessments
			44.2.2 Solvent Distribution Evaluation
		44.3 Results
			44.3.1 Conservator Interviews
			44.3.2 Case Study Assessments
			44.3.3 Solvent Disttibution Evaluation
		44.4 Conclusions
		References
	Chapter 45: Can Cellulose Beads Save The Circling of the Planets? Cellulose-Based Consolidating Filler to Stabilise Lifted Brittle Flakes on a Large Painting
		45.1 Introduction
		45.2 Materials and Methods
			45.2.1 Materials and Application of the Consolidating Filler Mixture
			45.2.2 Analytical and Test Methods
			45.2.3 Tests for Tensile Strength and Shrinkage of the Consolidating Filler
		45.3 Results and Discussion
			45.3.1 Filling Materials
			45.3.2 Film Formation Properties and Adhesion
			45.3.3 Final Mixture Preparation and Application
		45.4 Conclusion
		Notes
		Materials
		Equipment and Instrumentation
		References
Correction to: Conservation of Modern Oil Paintings
	Correction to: K. J. van den Berg et al., Conservation of Modern Oil Paintings, https://doi.org/10.1007/978-3-030-19254-9