Silicates as pictorial binders of the mural paintings in the 20th and 21st centuries: characterization of the main typologies

DOI: https://doi.org/10.37558/gec.v20i1.1074
Keywords: Conservation, silicate paint, mural painting, mineral paint, characterization of pictorial technique

Abstract

Marking differences between the various types of paints that use silicates as binders in wall paints is an increasing need in the field of conservation of cultural heritage. Coping with the extensive study of these materials in their industrial uses, the scarcity of research on the characterization and evolution of their use in the artistic field draws attention, both for commercial products and for experimental recipes, as well as the absence of analysis patterns that allow their identification, the evaluation of its aging process and the interaction with the other materials that make up the mural. With this study, the first steps are taken for typological recognition, concerning the period of execution of the murals and evaluating the options offered by stratigraphic analysis and FT-IR ATR infrared spectrometry, both in laboratory samples and in mural paintings from the Valencian area

Downloads

Download data is not yet available.

Author Biographies

Mercedes Sánchez Pons, Universitat Politècnica de València

Doctora por la Universitat Politécnica de Valencia (2002, programa de Conservación y Restauración de Bienes Culturales). Desde 2003 es profesora titular del Departamento de Conservación y Restauración de Bienes Culturales de la UPV en los títulos de Grado y Máster, en los que imparte docencia relacionada con la conservación y restauración de pinturas murales y en particular murales contemporáneos y arte urbano, desde el año 2006.
Forma parte del Grupo de Investigación Taller de análisis e intervención en Pinturas Murales del Instituto de Restauración del Patrimonio de la UPV, pertenece al Micro-Clúster de Investigación (MCI) “Globalización, turismo y patrimonio” en International Campus of Excellence VLC/CAMPUS, y es también miembro del grupo de Arte Urbano y Público del Ge-IIC.
Ha dirigido y participado en numerosos proyectos de investigación, catalogación e intervención de pinturas murales, nacionales e internacionales, destacando entre los más recientes la restauración de los murales de la iglesia de San Nicolás en Valencia y el Proyecto Europeo Ewaglos: european ilustrated glossary of conservation terms for wall painting and architectural surfaces. Es también co-editora y autora del volumen Conservation Issues in Modern and Contemporary Murals (Cambridge Scholars Publishing, 2015).

Duccio Sanesi Bigagli, Investigador independiente. Universitat Politècnica de València

With a degree in Operatore dei Beni Culturali from the Universitá di Firenze, once in Spain he approached the world of restoration by attending the master's degree in Conservación y  Restauración at the Universidad Politècnica de València.  With the final work of this degree, he achieved heritage recognition and a level of official protection for some ceramic advertising panels from the 1960s, emblematic of the city of Valencia. As a restorer, he has worked in different Autonomous Communities and in the Valencian area, in tasks related to the restoration of the walls and exterior decorations of monuments such as the Cathedral of Teruel and Lleida. He combines practical work with research in contemporary mural painting and ongoing training in the field of heritage conservation, in order to achieve a holistic treatment of the work of art. He is currently a student on a Master's degree in Analysis and Attribution of Works of Art at the University of Valencia. 

References

ALONSO-VILLAR, E.M., POZO-ANTONIO J.S., RIVAS T. (2020). “Environmentally friendly alternatives in urban art: durability of sol-silicate paints to solar radiation and marine exposition”. En Green Lines Bookseries on Heritage Studies, Volume 01, 153-162.

BARRIO N., WECSHLER, D. (2014). “Ejercicio plástico: la reinvención del muralismo”, Colección Artes y Letras. Serie Arte y Materia. Provincia de Buenos Aires: UNSAM EDITA.

CAVE, T. W. (1869). Mural or monumental decoration: its aims and methods. Comprising fresco, encaustic, water-glass, mosaic, oil painting. With an appendix. London: Windsor&Newton.

CHURCH, A.H. (1890). The chemistry of paint and paintings, London: Seeley and CO Limited. https://archive.org/details/chemistrypaints01churgoog. [consulta 08/05/21].

CNR, DIBAN, (2017). “FT-IR ATR: PI0003IA – Yeso” en Base de datos de espectros FT-IR ATR. 67. [bases de datos] https://www.cncr.gob.cl/611/articles-75793_archivo_01.pdf. [consulta 08/05/2021].

COAM, PRODUCTOS SIRIOS S-A. (1959). “Nuevos productos: la pintura petrificante “Silexore” en Arquitectura nº7, s/p. https://www.coam.org/media/Default%20Files/fundacion/biblioteca/revista-arquitectura-100/1959-1973/docs/revista-completa/revista-arquitectura-1959-n07.pdf. [consulta: 08/05/2021].

COLLADO JAREÑO, C., BLASCO CARRASCOSA, J.A. (1989). La pintura mural en la ciudad de Valencia durante el franquismo (1939-1975). Un estudio de catalogación, Tesis doctoral no publicada. Valencia: Universidad Politécnica.

DE LUISE, C. (2006) “A Finding Aid to the Abraham Joel Tobias Papers, 1913-2000”, in the Archives of American Art. Washington DC: Smithsonian Archives of American Arts. https://sirismm.si.edu/EADpdfs/AAA.tobijoel.pdf. [consulta 08/05/21].

DOERNER, M. (1946) Los materiales de la pintura y su empleo en el arte. Morata D. (versión española a cura de). Barcelona: Editorial Reverté S.A. (Mahlmaterial und seine Verwendunf im Bilde, obra original publicada en 1920).

GETTENS, R J., STOUT, G. L. (1966). Painting Materials, A Short Encyclopaedia. New York: Dover Pubblications, Inc., 77. (obra original publicada en 1942).

GETTY CONSERVATION INSTITUTE (2007). “ISR00022, Acrocryl 63822, Styrene acrylic emulsion” en Infrared and Raman Users Group Spectral Database. Infrared and Raman Users Group [base de datos]. http://irug.org/jcamp-details?id=275.[consulta 08/05/2021].

GUTIÉRREZ, J. (1986). Del fresco a los materiales plásticos. Nuevos materiales para pintura de caballete y mural, BACKAL DE SORIANO H., MENEZ F. (traductores). México DF: Instituto Politécnico Nacional. (From fresco to plastics: new materials for easel and mural paintings, obra original publicada en 1956).

HOßFELD V., LÜHKEN A., BADER H.J., (2019). “Wandmalereien mit Silikatfarben – Ein Thema für Chemie und Kunst”, en CHEMKON, 26, 95-102. https://doi.org/10.1002/ckon.201800053. [consulta: 08/05/21].

IROE, CNR (2007). “IMP00061, calcium carbonate” en Infrared and Raman Users Group Spectral Database. http://www.irug.org/jcamp-details?id=461. [consulta 08/05/2021]

JACKSON, F. H (1904). Mural painting. New York: C. Scribner’s Sons. 88. https://babel.hathitrust.org/cgi/pt?id=njp.32101067623502&view=2up&seq=155&q1=keim. [consulta 08/05/21].

JEAN, G. (2013). “La manualistica sul colore ad uso di architetti e imbianchini”, en La conservazione delle policromie nell’architettura del XX secolo, Jean G. (a cura de). Lugano; Firenze: Scuola Universitaria Professionale della Svizzera Italiana; Nardini Editore, 2013, 183-213.

KEIM, A. W. (1881). Die Mineral-Malerei: Neues verfahren zur herstellung witterungs beständiger Wandgemälde. Wien: Hartleben.

KINSEHER, K (2013). “Womit sollen wir malen?” Farben-Streit und maltechnische Forschung in München. Ein Beitrag zum Wirken von Adolf Wilhelm Keim, dissertation, München: Technische Universität München.

KUHLMANN, F. (1859). “On the Applications of Water Glass, Soluble Alkaline Silicate, in the Arts”, The Journal of the Society of Arts, 347 (7). 583-592. http://www.jstor.org/stable/41334473. [consulta 08/05/21].

LAURIE, A. P. (1926). The painter’s Methods and Materials; reprint 1967. London: Seeley, Sernice & Co. London: Winsor and Newton. https://openlibrary.org/books/OL13490248M/Mural_or_monumental_decoration. [consulta: 08/05/21].

MAYER, R. (1970). A Dictionary of Art Terms and Techniques. New York: Barnes & Noble Books.

MILLER, B. F. (1998). “Painting materials research in Munich from 1825 to 1937”, en Studies in Conservation, 43 (sup1) 246-248. https://doi.org/10.1179/sic.1998.43.[consulta 08/05/21].

MOMA (1958). Subway art at the Museum of Modern, Art Press reléase, 325105. Moma: New York. https://assets.moma.org/documents/moma_press-release_325105.pdf . [consulta 08_05_2021].

OSSWALD, J., SNETHLAGE, R. (1996). The hardening process in silicate paints, en 8th International congress on deterioration and conservation of stone : proceedings, Berlin, 30 Sept. - 4 Oct. ICCROM, 1265-1276. http://iscs.icomos.org/pdf-files/Berlin1996/8thStoneProg.pdf [consulta 08_05_2021]

PETTENKOFER, M. (1849). Fuchs’sche Wandmalerei (sterochromie), Band 113, Nr LIV, 217-225. http://dingler.culture.hu-berlin.de/article/pj113/ar113054. [consulta 08/05/21].

PONTIGGIA, E. (2018). Mario Sironi: La grandezza dell’arte, le tragedie della storia. Monza: Johan & Levi Editore.

PURSCHE,J. (1998). “Betrachten zur Malerei mit Alkalisilikaten. Geschichte, Maltechnick und Restaurierung” en Mineralfarben: Beiträge zur Geschichte und Restaurierung von Fassadenmalereien und Anstrichen, Wohlleben M. (edita). Zurich: vdf Hochschulverlag AG.

RIVINGTON, J. A. (1883). “A new process for producing permanent mural Paintings, invented by Adolf Keim, of Munich” en Journal of the Society of Arts. 32. Londres: The Society of Arts. https://www.proquest.com/docview/1307236123?pq-origsite=gscholar&fromopenview=true&imgSeq=1. [consulta 08_05_2021].

ROGALA, D. V. (2016). Hans Hoffman: The Artist’s Materials, Los Angeles: Getty Publications.

SCHMID, F.W. (1953). Ethyl silicate and vinilite as painting media for murals. Paper presented to the Faculty of the Graduate School Sacramento State College. http://csus-dspace.calstate.edu/bitstream/handle/10211.3/194240/1953SchmidFred_Redacted.pdf?sequence=1). [consulta 08/05/2021].

SCHMIDT, C. (1928). Fünfzig Jahre Keim’sche Mineralfarben. Abschrift der Referenzenliste von 1928. Zurich: Keimsche Mineralfarben.

http://www.keim.ch/fileadmin/ch/pdf/keimsche_zusammenfassung_1928.pdf. [consulta 08/05/2021].

SCHOENEMANN, A., GRUENES, F., MENRAD, A. (2017). “Silicate-based murals at the market hall in Stuttgart: An investigation into art technology and damage phenomena for the development of a conservation approach”. En ICOM Committee for Conservation 18th Triennial Meeting, Copenhagen Denmark 4-8 September 2017. https://www.icom-cc-publications-online.org/1680/Silicate-based-murals-at-the-market-hall-in-Stuttgart--An-investigation-into-art-technology-and-damage-phenomena-for-the-development-of-a-conservation-approach . [consulta 08/05/21].

SCHÖNBURG K. (2006). Silicatfarbentechnik am Bauwerk: Vorteile der Silicatfarbentechnik für das neue und historische Bauwerk. Anwendung und Ausführung von Anstrichen, Dekorationen und Wandmalereien. Berlin, Wien, Zurich, Beuth Verlag GmbH.

SIQUEIROS, D. A. (1951). Como se pinta un mural. Jardines de Cuernavacas, Morelos: Ediciones Taller Siqueiros, Venus y sol.

VALERO REDONDO, M., SANCHÉZ PONS M. (2009) José Bellver, muralista valenciano del siglo XX. Catalogación de sus obras murales y aproximación a las técnicas pictóricas empleadas. Trabajo final de Máster, Departamento de Conservación y Restauración de Bienes Culturales. Valencia: Universidad Politécnica.

VON FUCHS, J. N. (1857). Bereitung, Eigenschaften und Nutzanwendung des Wasserglases mit Einschluss der Stereochromie. München: Literar.-Artist. Anstalt.

WOHLLEBEN M. (1998). “Adolf Wilhelm Keim- ein Wissenschaftler mit ethischem Ansprucht”, en Mineralfarben: Beiträge zur Geschichte und Restaurierung von Fassadenmalereien und Anstrichen, Wohlleben M. (edita). Zurich: vdf Hochschulverlag AG.

Published
2021-12-17
How to Cite
Sánchez Pons, M., & Sanesi Bigagli, D. (2021). Silicates as pictorial binders of the mural paintings in the 20th and 21st centuries: characterization of the main typologies. Ge-Conservacion, 20(1), 318-336. https://doi.org/10.37558/gec.v20i1.1074
Issue
Vol. 20 (2021): Ge-conservación Nº20
Section
Suplemento
  1. Copyright and intellectual property belongs to author. Author guarantees editing and publishing rights to Ge-Conservación Journal, under a Creative Commons Attribution License. This license allows others to share the work with authorship and the original source of publication acknowledgement.
  2. Articles can be used for scientific and educational purposes but never for commercial use, being sanctioned by law.
  3. The whole content of the article is author’s responsibility.
  4. Ge-Conservación Journal and authors may establish additional agreements for non-exclusive distribution of the work version published at the Journal (for example, on institutional repositories or on a book) with acknowledgment of the original publication on this Journal.
  5. Author is allowed and encouraged to disseminate his works electronically (for example, on institutional repositories or on its own website) after being published on Ge-Conservación Journal. This will contribute for fruitful interchanges as also for wider and earlier citations of the author’s works.
  6. Author’s personal data will only be used for the Journal purposes and will not be given to others.