A study on the use of seven different papers on the facing of oil easel painting

DOI: https://doi.org/10.37558/gec.v20i1.1066
Keywords: facing, oil painting, wet-strength tissue, modelspan

Abstract

Is japanese paper the most suitable material for facing on easel paintings? Would it be beneficial to use specific papers appropriate to each case? This study sought to answer these questions and determine, from the tested papers, which is the most suitable for the facing on oil easel paintings. For this purpose, models were made, in three different colors. In each color, two textures were made, textures and not textured. Three areas were also defined, in each color and texture: two do apply two different varnishes and one to remain without varnish. The models were made so that all combinations of materials previously described were obtained and each paper was tested in each of these combinations.
After the tests were carried out and the results were analyzed, it was concluded that, of the tested materials, Japanese paper was not always the most effective, having been surpassed by Wet-strength Tissue, a cellulosic paper, for demonstrating ease of application, due to the paper strength and fiber loss.

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Author Biographies

Patrícia Sofia Fernandes Varela, Universidade de Lisboa, Faculdade de Belas-Artes, Largo da Academia Nacional de Belas-Artes, 1249-058 Lisboa, Portugal

Licenciada em Património Cultural e Arqueologia em 2017, pela Universidade do Algarve e mestre em Ciências da Conservação, Restauro e Produção de Arte Contemporânea em 2020, pela Faculdade de Belas-artes da Universidade de Lisboa. Estagiou no Museu Municipal de Faro em Conservação e Restauro. A investigação de mestrado foi acerca da utilização de diferentes papéis japoneses no facing de pintura a óleo sobre tela, feita em colaboração com a Professora Ana Bailão e o Professor Matteo Rossi Doria, na empresa Conservazione di Beni Culturali, em Roma. Atualmente trabalha na área da conservação e restauro.

Matteo Rossi Doria, CBC Conservazione Beni Culturali, Viale Manzoni, Roma, Itália

Matteo is in conservation since 1979. After a three years apprenticeship and ICCROM training he dedicated his professional interest to few specific problems in conservation, first of all canvas paintings structural conservation. He always tried to put things together, different methods and approaches, looking at an honest assessment of each of them and  revisit traditional methods recipes and applications. Meanwhile he worked in other fields of research, as paint layers consolidation and minimal treatments, in Cesmar7 international meeting organization (2004-2006-2008). Matteo does also work on historical carriage collection conservation/restoration, preventive conservation, in national and European Community projects, as project manager in training/update projects and events, teaching and lecturing for Viterbo University and other institutions. He’s member of CBC Conservazione Beni Culturali, a large private company settled in Roma.

Ana Bailão, Universidade de Lisboa, Faculdade de Belas-Artes, Centro de Investigação e de Estudos em Belas-Artes (CIEBA), Largo da Academia Nacional de Belas-Artes, 1249-058 Lisboa, Portugal

Prof. Auxiliar da Faculdade de Belas-Artes da Universidade de Lisboa. Coordenadora do Mestrado de Ciências da Conservação, Restauro e Produção de Arte Contemporânea na mesma instituição. Licenciada em Conservação e Restauro pelo Instituto Politécnico de Tomar (2005) e mestre em Conservação de Pintura pela Universidade Católica Portuguesa (2010). Doutora em Conservação de Bens Culturais pela mesma universidade, em colaboração com o Centro de Investigação em Ciência e Tecnologia das Artes (CITAR) e o Instituto do Patrimônio Cultural de Espanha (IPCE), em Madrid. Investigações e projetos foram apresentados através de publicações, palestras, exposições e apresentações. Ensino de conservação e restauro desde 2008. Intervenções de conservação e restauro para privados e Estado desde 2004.

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Published
2021-10-29
How to Cite
Fernandes Varela, P. S., Rossi Doria, M., & Bailão, A. (2021). A study on the use of seven different papers on the facing of oil easel painting . Ge-Conservacion, 20(1), 146-161. https://doi.org/10.37558/gec.v20i1.1066
Issue
Vol. 20 (2021): Ge-conservación Nº20
Section
Artículos
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