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Freeman Ashley a 201309 M CHARACTERIZATION OF FILLING MATERIALS FOR EASEL PAINTINGS by ASHLEY AMANDA FREEMAN A thesis submitted to the Department of Art in conformity with the requirements for the degree of Masters of Art Conservation Queen’s University Kingston, Ontario, Canada September, 2013 Copyright © ASHLEY AMANDA FREEMAN, 2013 Abstract Developing appropriate treatments for easel paintings can be complex, as many works are composed of various materials that respond in different ways. When selecting a filling material for these artworks, several properties are investigated including: the need for the infill to react to environmental conditions in a similar manner as the original material; the need for the infill to have good handling properties, adhesion to the original support, and cohesion within the filling material; the ability for the infill to withstand the stress of the surrounding material and; be as flexible as the original material to not cause further damage. Also, changes in colour or mechanical properties should not occur as part of the ageing process. Studies are needed on acrylic-based materials used as infills in conservation treatments. This research examines some of the chemical, physical, and optical changes of eleven filling materials before and after ageing, with the aim to evaluate the overall appropriateness of these materials as infills for easel paintings. The materials examined were three rabbit skin glue (RSG) gessoes, and seven commercially prepared acrylic materials, all easily acquired in North America. Chemical analysis was carried out with Fourier transform infrared (FTIR) spectroscopy and X-ray fluorescence (XRF), pyrolysis gas chromatography-mass spectroscopy (Py-GC/MS), and differential scanning calorimetry (DSC). Overall the compositions of the various materials examined were found to be in agreement with the available literature and previous research. This study also examined characteristics of these materials not described in previous works and, additionally, presented the compositions and behaviour of several commonly used materials with little literature description. After application of an ageing regimen, most naturally aged and artificially aged samples displayed small changes in gloss, colour, thickness, and diffusive behaviour; however, to evaluate these materials fully mechanical testing and environmental studies should be carried out. ii Acknowledgements I would like to thank my advisor Dr. Alison Murray for providing helpful comments during the writing of this thesis. In addition, my sincere thanks also go to Michael Doutre, Professor Barbara Klempan, Dr. H.F. (Gus) Shurvell, Dr. George Bevan, Dr. Brad Diak, Charlie Cooney, and Mary Lou McGreal for offering guidance during this time. Last but not least, I would like to express my gratitude to my friends and family for their love and support, especially my parents, Paula Cottone and Dale Freeman, and siblings: Staci, Kourtney, Nicholas, and Arnold. iii Table of Contents Abstract ............................................................................................................................................ ii Acknowledgements ......................................................................................................................... iii List of Equations ............................................................................................................................ vii List of Figures ............................................................................................................................... viii List of Tables ................................................................................................................................. xii List of Symbols ............................................................................................................................. xiv Glossary of Terms .......................................................................................................................... xv Chapter 1 Introduction ..................................................................................................................... 1 Objectives .................................................................................................................................... 4 Chapter 2 Literature Review ............................................................................................................ 5 2.1. The Artist and Art Conservation ...................................................................................... 5 2.2. Acrylic Emulsions ............................................................................................................ 6 2.2.1. Film Formation ............................................................................................................ 8 2.2.2. Additives .................................................................................................................... 12 2.3. Polymerization ............................................................................................................... 12 2.3.1. Surfactants .................................................................................................................. 16 2.4. Film Morphology ........................................................................................................... 18 2.5. Technical Studies and Cleaning of Acrylic Emulsions .................................................. 19 2.6. Acrylic Filling Materials ................................................................................................ 24 2.6.1. Beckers Latexspackel ................................................................................................. 24 2.6.2. Flügger Acrylspartel .................................................................................................. 26 2.6.2.1. Micro-balloons ....................................................................................................... 28 2.6.3. Golden Artists Colors Gessoes and Paste .................................................................. 30 2.6.4. Liquitex Artists Materials .......................................................................................... 34 2.7. Traditional Materials and Art Conservation .................................................................. 37 2.7.1. Nano Calcium Carbonate Gesso ................................................................................ 38 Chapter 3 Experimental ................................................................................................................. 39 3.1. Samples .......................................................................................................................... 39 3.2. Sample Preparation ........................................................................................................ 43 3.3. Observations during Casting and Drying ....................................................................... 44 3.4. Working Properties ........................................................................................................ 45 3.5. Characterization Techniques .......................................................................................... 47 iv 3.5.1. Attenuated Total Reflectance Fourier Transform Infrared (ATR-FTIR) Spectroscopy ................................................................................................................................... 47 3.5.2. Pyrolysis-Gas Chromatography/Mass Spectrometry (Py-GC/MS)............................ 48 3.5.3. X-ray Fluorescence (XRF) ......................................................................................... 49 3.5.4. Thermogravimetric Analysis (TGA) .......................................................................... 49 3.5.5. Differential Scanning Calorimetry (DSC) ................................................................. 51 3.6. Evaluation of Chemical Stability ................................................................................... 52 3.6.1. Ageing ........................................................................................................................ 52 3.6.2. Light Microscopy and Photography ........................................................................... 55 3.6.3. Colourimetry .............................................................................................................. 56 3.6.4. Gloss .......................................................................................................................... 57 3.6.5. Change in Thickness .................................................................................................. 57 3.6.6. Flexibility ................................................................................................................... 58 3.6.7. Swabbing and Immersion........................................................................................... 59 3.6.8. Diffusion .................................................................................................................... 60 Chapter 4 Results and Discussion .................................................................................................. 63 4.1. Working Properties ........................................................................................................ 63 4.2. Characterization Techniques .......................................................................................... 66 4.2.1. Attenuated Total Reflectance Fourier Transform
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