Talk:Lining of paintings

Structure I think that the overall flow and content of the article are in dire need of being restructured. The First section under the title may be a very brief overview of the subject. The purpose and methodologies sections may be reworked, with methodologies being split to cover the different techniques applied to the relining process. A section covering adhesives and a section covering canvas materials would be a good start. A controversy section and history section may be added as well in order to relate the opinions within the field. Additionally, if images are available via wikimedia commons, we may like to put a few in to visualize the process.

Nothing stood out to me as needing to be removed from the page; it mostly could use restructuring (as you suggest) and elaboration. For example, the Greenich Comparative Lining Conference is mentioned but its outcome could be further explored (in history or controversy section?) as it doesn't have its own page.

As it stands we should focus on the direction we want to take the article in. Based on what we have proposed we can see something like this?

This outline sounds great - I've outlined what we'd take over in the blackboard discussion.

Overview The Tate Museum resource provides a good foundation of an overview: “The structural treatment of deteriorated oil paintings on canvas is a major concern of painting conservators. In the past, the attachment of a second canvas to reinforce the weakened original was universal practice. This was called re-lining and later became known as lining. But in recent years the value of lining has been questioned and its disadvantages documented. A major change of opinion has occurred, reinforced by modern attitudes to conservation which place greater emphasis on preserving the original state of the canvas support and applied paint film. These attitudes in part derive from a more academic education that conservators now receive. This has largely replaced apprenticeship training, which tended to reinforce the strengths of existing practice. Now, a less interventionist approach is taken. But this approach is very dependent on the accuracy and relevance of engineering models derived from recent scientific research. The application of this knowledge to conservation practice creates an ongoing dialogue about the aims, aesthetics and ethics of conservation.” Paintings on Canvas: Lining and Alternatives, Tate Museum Beckaolson (talk) 03:58, 5 May 2021 (UTC)

Purpose What do you all think about removing all reference of methodology from this section and instead focusing on the actual purpose/reasons for carrying out the treatment? Makes a lot more sense to me to save that for the previous and modern methodologies sections.Elfelber (talk) 20:49, 13 May 2021 (UTC)

I agree, the work there is decent it could be moved into previous or modern methodologies depending on the time period they were conducted. I do think that both the intro and purpose need to have more meat but I'm not sure how I would personally go about making them more substantial. There is plenty to be said about the lining process but I'm still at a bit of a loss. SJDeBacker (talk) 02:40, 14 May 2021 (UTC)

Agreed - definitely planning on filling out Purpose significantly more, I just felt for my own thought process tackling History more thoroughly first would help - I'm going to focus on historical purpose (cure-all treatment) vs. modern purpose (last resort).Elfelber (talk) 00:35, 15 May 2021 (UTC)

Previous Methodologies

Canvas: Removal and Replacement

Adhesive Application

Modern Methodologies

I think that we need to focus on bolstering the info for modern methodologies SJDeBacker (talk) 05:31, 14 May 2021 (UTC)

I recommend the Ackroyd & Young Mechanical Behavior source as well as the Ackroyd changes in attitude readings - seems that there was some innovation in the mid-late 20th century regarding adhesives, could provide intro for the Adhesive Types section. In general, the Ackroyd "Changes in Attitude" source has some solid discussion on modern methodologies. Elfelber (talk) 00:42, 15 May 2021 (UTC)

Canvas removal

Adhesive Types and Application EXAMPLE of adhesive application The choice of adhesive for whatever structural treatment is undertaken is (of course) crucial. As noted earlier, lining treatments are less frequently employed and “traditional” linings using glue-paste and wax- resin adhesives are now used less often. Glue paste lining has been used in Italy since canvas paintings started to deteriorate and needed reinforcement. There are many regional variations on the materials and techniques. Glue paste lining was most prevalent in the 18th and 19th centuries, although even then some of the drawbacks of this technique were recognized; this led to alternatives such as wax-based treatments. Wax-resin lining was first used in the early 19th century in the Netherlands; introduced into the UK in the 20th century; and was shortly thereafter widely adopted in the U.S. These lining methods both consolidated the overall structure and simultaneously adhered the lining canvas to the original. Debates have been vocal and volatile as to how effectively these linings provide overall consolidation in addition to how frequently and extensively they result in color change on the lined painting. In recent decades, conservators have turned to BEVA (in its various formulations) and it is now a very common lining adhesive and consolidant. Other synthetic adhesives, including Plextol 500, are also in use today, as well as solvent activated linings using acrylic co-polymer adhesives. It is important to note that such treatments add further complexity in considering questions about long-term mechanical stability while introducing other critical questions such as possible change in appearance. Evaluation of the mechanical properties and environmental response of lined paintings is sparse and somewhat contradictory. There are good studies on the color changes induced in wax lining, and descriptions of alternative methods and adhesives that do not introduce such changes. Epidemiological studies of collections are now becoming more common, and provide us with valuable data on cultural heritage. Not only could such studies for paintings help us evaluate what has been lost and gained by lining and flattening treatments, but (as always) we can learn from our mistakes. Additionally, epidemio- logical studies can help establish whether regional/national trends in lining practice are based on the type of paintings encountered in those regions or some other criteria.

Beckaolson (talk) 03:58, 5 May 2021 (UTC)

Lining Materials

Ironing

History

Controversy I think we should focus on the controversy between previous and modern techniques for the painting linings. I agree! SJDeBacker (talk) 23:26, 6 May 2021 (UTC)

Beckaolson (talk) 03:58, 5 May 2021 (UTC)

SJDeBacker (talk) 18:37, 28 April 2021 (UTC)Sam D.

References Beckaolson (talk) 04:00, 5 May 2021 (UTC) Ackroyd, P., A. Phenix, C. Villers, and N. Wade. 2002. Structural treatments for canvas paintings in 2002: Summary of questionnaire replies. ICOM Committee for Conservation. 13th Triennial Meeting, Rio de Janeiro. London: ICOM. 321–327.

Ackroyd, P., and C. Young. 1999. Preparation of artist’s canvases: Factors that affect adhesion between ground and canvas. ICOM Committee for Conservation. 12th Triennial Meeting, Lyon. London: ICOM. 265–270. Also available at: http://eprints.gla.ac.uk/137224.

Appendix l: Curatorial care of easel paintings - nps.gov. (2000). Retrieved April 23, 2021, from https://www.nps.gov/museum/publications/mhi/appendl.pdf

Bria, Carmen F. (1986). The History of the Use of Synthetic Consolidants and Lining Adhesives. WAAC Newsletter, Volume 8, Number 1, 7-11. from https://cool.culturalheritage.org/waac/wn/wn08/wn08-1/wn08-104.html

Coddington, J. & Young C. (2018). Structure and Lining: A Review. AIC News, vol 43:3, 1-8. from https://www.culturalheritage.org/docs/default-source/publications/periodicals/newsletter/aic-news-vol-43-no-3-(may-2018).pdf?sfvrsn=c8eb0320_8

Druzik, J. (2004). Newsletter 19.1 spring 2004. Retrieved March 11, 2021, from https://www.getty.edu/conservation/publications_resources/newsletters/19_1/news_in_cons1.html

Idelson, A. 2005. A study on the correct value of tension for canvas paintings. Interim meeting, internation- al conference on painting conservation: Canvases, behaviour, deterioration and treatment: preprints, Valencia, edited by M. C. Agusti et al. Valencia: Universidad Politécnica de Valencia. 157–84.

Institute, C. (2017, September 26). Government of Canada: Agents of Deterioration. Retrieved March 11, 2021, from https://www.canada.ca/en/conservation-institute/services/agents-deterioration.html

Leonard, M. (2003). Personal Viewpoints Thoughts about Paintings Conservation. From A Seminar Organized by the J. Paul Getty Museum, the Getty Conservation Institute. https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/personal_viewpoints_vl.pdf

Mecklenburg, M. and C. Tumosa. 1991. Mechanical behavior of paintings subjected to changes in temperature and relative humidity. In Art in Transit: Studies in the Transport of Paintings, edited by M. Mecklenburg et al., 173–90. Washington DC: National Gallery of Art. Mohie, M. A., Ali, N. M., &amp; Bani Issa, A. A. (2019). A New Method of Lining Oil Paintings Using Polyurethane. Mediterranean Archaeology and Archaeometry, 19(2), 9-21. (Methodologies - Adhesive Agents)

Mohie, M. A., Ali, N. M., & Isa, A. A. (n.d.). A New Method of Lining Paintings Using Polyurethane. Mediterranean Archaeology and Archaeometry, Vol. 19(No. 2), 9-21. doi:10.5281/zenodo.3066004

Nanke C. Schellmann. (2007) Animal glues: a review of their key properties relevant to conservation. Studies in Conservation, pages 55-66.

Newman, R. (2011). MFA Highlights: Conservation and Care of Museum Collections. Boston, MA: MFA Publications.

Nieder, E., E. Hendriks, and A. Burnstock. 2011. Colour change in sample reconstructions of Vincent van Gogh’s grounds due to wax-resin lining, Studies in Conservation, 56 (2): 94–103.

Oliver Masson, Michaela Ritter. (2004) ‘Fräulein Huth’ and the red seaweed: Consolidation of a collage by Kurt Schwitters with JunFunori®. The Paper Conservator 28:1, pages 91-98.

Paul Ackroyd (2002) The structural conservation of canvas paintings: changes in attitude and practice since the early 1970s, Studies in Conservation, 47:sup1, 3-14, DOI: 10.1179/sic.2002.47.Supplement-1.3 (Controversy)

Reifsnyder, J. 2012. Glue-paste lining adhesives. In Conservation of Easel Paintings, edited by J. Stoner et al., 416–423. London: Routledge.

Saskia van Oudheusden (2014). The procedure of wax-resin linings by the painting restorers Johannes Albertus Hesterman (1848-1916) and sons.https://doi.org/10.4000/ceroart.4081

Stephen Hackney, ‘Paintings on Canvas: Lining and Alternatives’, in Tate Papers, no.2, Autumn 2004, https://www.tate.org.uk/research/publications/tate-papers/02/paintings-on-canvas-lining-and-alternatives, accessed 23 April 2021.

Stoner, J. (1994). The Impact of Research on the Lining and Cleaning of Easel Paintings. Journal of the American Institute for Conservation, 33(2), 131-140. doi:10.2307/3179422

Susan Catcher. (2007) Conservation of a nineteenth-century set design by Clarkson Stanfield. The Paper Conservator 31:1, pages 17-28.

Tate. "Conservation Science and Preventative Conservation" (n.d.). https://www.tate.org.uk/about-us/conservation/science-preventive-conservation

Tate. "Modern Oils Research Consortium" (n.d.). https://www.tate.org.uk/about-us/projects/modern-oils-research-consortium

te Marvelde, M. 2012. Wax-resin lining. In Conservation of Easel Paintings, edited by J. H. Stoner et al., 424–433. Oxon: Routledge.

Valerie Lee, Xiangmei Gu, Yuan-Li Hou. (2003) The Treatment of Chinese Ancestor Portraits: An Introduction to Chinese Painting Conservation Techniques. Journal of the American Institute for Conservation 42:3, pages 463-477.

Villers, C., ed. 2004. Lining paintings: Papers from the Greenwich Conference on comparative lining techniques. Archetype Publications. Volkmer, J., Lee, N., Indictor, N., & Baer, N. (1975). An Examination of Lining Materials and Methods for Special Problems in Painting Conservation. Bulletin of the American Institute for Conservation of Historic and Artistic Works, 15(2), 103-105. doi:10.2307/3179300

Watson, M., and A. Burnstock. 2013. An evaluation of color change in nineteenth-century grounds on canvas upon varnishing and varnish removal. New insights into the cleaning of paintings. Proceedings from the Cleaning 2010 International Conference, edited by M.

Mecklenburg et al., Universidad Politéc- nica de Valencia and Museum Conservation Institute. Washington DC: Smithsonian Institution Scholarly Press. 77–84

Young, C., & Ackroyd, P. (2001). The Mechanical Behaviour and Environmental Response of Paintings to Three Types of Lining Treatment. National Gallery Technical Bulletin, 22, 85-104. http://www.jstor.org/stable/42616153

Beckaolson (talk) 03:53, 5 May 2021 (UTC)