Titlebook: Issues in Contemporary Oil Paint; Klaas Jan van den Berg,Aviva Burnstock,Gunnar Heyd Book 2014 Springer International Publishing Switzerla

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Twentieth Century Oil Paint. The Interface Between Science and Conservation and the Challenges for ration between conservators and scientists and utilises phenomenological and experimental methodologies to investigate the causes of optical changes in paint, such as efflorescence and salt formation, and the sensitivity to water that occurs on surface cleaning some unvarnished oil paintings. Exampl

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Do We See What We Know or Do We Know What We See? Conservation of Oil Paintings in the Stedelijk Mu discussed. Examples of the treatment include key works by Kazimir Malevich, Modern American painters from the 1950s-1970s and Cobra artists. The challenges for conservators and criteria for decisions about treatment and display at the museum included reviewing former conservation treatments and the

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Towards Interpretation of Making, Meaning, and Change in British Twentieth Century Oil Paintings: Tled practical solutions to picture-making long-since absorbed by the artist, Patrick Heron (1920–1999), into the instinctive act of painting and left un-articulated in interviews or commentaries. The large quantity of oil paint in 155 different colours led to questions as to why so much variety, whi

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Distinction by Micro-Raman Spectroscopy and Chemometrical Analysis of Copper Phthalocyanine Blue Pocentury artists paints. Phthalo blue, which is adopted by artists since 1936, is a polymorphous pigment. Currently, the ., . and . CuPc polymorphs are used in artists paint formulations. The identification of the CuPc crystal form provides technical and chronological information relevant for studyin

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, by Georges Mathieu, 1957. Study and Restoration: Consolidation Through Cohesive Regeneration Usinlle, France. The painting shows several signs of degradation which result from a combination of factors such as: the artist’s action and painting technique: . producing thick black impastos; the composition and interaction between the binding media, linseed oil and the ivory black pigment; the envir

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