Titlebook: Metal Soaps in Art; Conservation and Res Francesca Casadio,Katrien Keune,Gillian Osmond Book 2019 Crown 2019 painted surfaces.isomeric netw

inferno

裂縫

Understanding the Dynamics and Structure of Lead Soaps in Oil Paintings Using Multinuclear NMRon in model paint films subjected to different relative humidities was monitored by .C NMR spectroscopy; the rate of soap formation increases with relative humidity. The results are discussed in the context of their implications for the conservation and preservation of works of art affected by lead

高貴領(lǐng)導(dǎo)

矛盾心理

Impact of Lead Soaps on the Formation of Age Craquelurelm with minimal craquelure is much better preserved. This difference can be linked to the preparation of the canvasses. The second phenomenon occurs in paint that is partially covered by oak panelling that was installed in 1956 to encase the original marble mantelpiece. The paint behind the oak pane

Hyperopia

Aging of Natural Resins in Presence of Pigments: Metal Soap and Oxalate Formationnc white and smalt appear to be the most reactive pigments. The explanation for the different reactivity of the acid components of the three resins is unclear. Studies on acidity of different resins, free acid mobility, and pigment reactivity are ongoing. Generally, the presence of a pigment has bee

STEER

Factors Affecting the Reactivity of Zinc Oxide with Different Drying Oils: A Vibrational Spectroscopomenon is particularly severe for alkali-refined, raw, and boiled linseed oils, while stand oil and tung oil show the lowest amounts of zinc soap (FA-Zn) formation. The findings advance our knowledge of the reactivity of zinc oxide with an expanded range of drying oils that are commonly encountered

NADIR

易于出錯

commodity

saphenous-vein

Characterization and Removal of a Disfiguring Oxalate Crust on a Large Altarpiece by Hans MemlingIR imaging and macro-rFTIR scanning, SEM-EDX, mobile XRD, and SR-μXRD showed that the crusts contained two related Ca-based oxalate salts, whewellite and weddellite, and were separated from the original paint surface by varnish, indicating that they did not originate from degradation of the original