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Literature

Degredations Phenomena

Literature is devided in literature about: Degredations Phenomena, Paint Components, Water Sensitivity in Oil Paint and Water Sensitivity in Acrylic Paint.


Phenomena mentioned in literature:

—(Insect) Excretions —

Morrison R., Bagley-Young A., Burnstock A., van den Berg K.J., van Keulen H., An investigation of parameters for the use of citrate solutions for surface cleaning unvarnished paintings,2007, in: Studies in Conservation vol 52 nr.4 2007,pp 255-270

Poyatos F., Morales F., Nicholson A.W., Giordano A., Physiology of biodeterioration on canvas paintings,2018, in: Journal of Cellular Physiology vol. 233 issue 4, 2018.,pp 2741-2751

—(White) Haze —

Jablonski E., Learner T., Hayes J., Golden M., The Conservation of Acrylic Emulsion Paintings: A Literature Review,2010, in: ,
https://www.researchgate.net/publication/260400209_The_Conservation_of_Acrylic_Emulsion_Paintings_A_Literature_Review

Whitmore P.M. Colaluca V.G., Farrell E., A note on the origin of turbidity in films of an artists' acrylic paint medium,1996, in: Studies in Conservation vol. 41 nr. 4,pp 250-255

Zucker J., Opaque to Transparent: paint film defects in the work of Frederic Church and the Hudson River School.,2007, in: AIC Paintings Specialty Group postprints, Rhode Island, 16th-19th June 2006. AIC, Washington,pp 33-41

—Blanching —

 Singer B., Davenport J., Wise D.,, Examination of a Blooming Problem in a collection of unvarnished oil paintings,1995, in: ,

Burnstock A., Odlyha M., Caldwell, M., A Technical Examination of Surface Deterioration of Stanley Spencer’s Paintings at Sandham Memorial Chapel.,1993, in: ICOM Committee for Conservation tenth triennial meeting, Washington, DC, 22-27 August 1993: preprints,pp 231-238

Koller J., Burmester, A., , Blanching of Unvarnished Modern Paintings: A Case Study on a Painting by Serge Poliakoff,1990, in: ,pp 138

—Blistering —

Boissonnas A.G., The treatment of fire-blistered oil paintings,1963, in: Studies in Conservation Vol.8 1963 issue 2.,pp 55-66

Du Pont Cornelius F., Further developments in the treatment of fire-blistered oil paintings,1966, in: Studies in Conservation Vol.11 1966 issue 1.,pp 31-36

Ketnath A., The treatment of a fire damaged picture painted on a masonite board,1978, in: Studies in Conservation vol.23 1978 issue 4.,pp 168-173

—Bloom —

Brommelle N.S. , Bloom in Varnished Paintings,1956, in: Museums Journal vol. 55 nr.10,pp 263-266

Keune K., Boevé Jones G., Its surreal: Zinc oxide degradation and misperceptions in Salvador Dalí's Couple with Clouds in their Heads, 1936,2014, in: Issues in Contemporary Oil Paint,pp 283-294

Puglieri T.S., Lavezzo A.S., dos Santos I.F.S., de Faria D.L.A., Investigation on the hazing of a Brazilian contemporary painting,2016, in: Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy vol. 159,pp 117-122

Singer B., Devenport J., Wise D. , Examination of Blooming Problems in a Collection of Unvarnished Oil Paintings,1995, in: The Conservator, Vol. 19,pp 3-9

Williams S.R., Blooms, Blushes, Transferred Images and Mouldy Surfaces: What are these Distracting Accretions on Art Works?,1989, in:  Proceedings of the 14th Annual IIC-CG Conference May 27-30, 1988, Toronto.,pp 65-85

—Cleavage —

De Ségogne, H., Théorème de Gödel by Georges Mathieu, 1957. Study and Restoration: Consolidation through cohesive regeneration using a solvent,2014, in: Issues in Contemporary Oil Paint,pp 149-157

Ebert B., Macmillan Armstrong S., Singer B., Grimaldi N., Analysis and Conservation Treatment of Vietnamese Paintings,2011, in: ICOM-CC 16th Triennial Meeting Postprints, Lisbon, 2011,paper 1305
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=6cac91f5-8f61-4ce6-87ea-d0430eda025b

—Cracking —

Duffy M., Martins A., Boon J.J., Metal soaps and visual changes ina painting by René Magritte, The Menaced Assassin, 1927,2014, in: Issues in Contemporary Oil Paint,pp197-203

Gridley M., Notes on the treatment of cracks in canvas paintings,2014, in: AIC 42nd Annual Meeting, Paintings Specialty group postprints, San Francisco,pp 33-52

Gridley M., Cranmer D., Unforgiving Surfaces: Treatment of cracks in contemporary paintings,2007, in: Modern Paints Uncovered: Proceedings from the Modern Paints Uncovered Symposium, Getty Conservation Institute, Tate and National Gallery of Art. ,pp 143-148

Helwig K., Thibeault M-E., Poulin J., Jack Chambers' mixed media paintings from the 1960s and 1970s: painting technique and condition,2013, in: Studies in Conservation 58 (3),pp 226-244

Markevicius T. et al. , New approaches to an old problem: A precision mild heat-transfer method for nuanced treatment of sensitive contemporary and modern artworks,2017, in: Postprints from the ICOM-CC 18th Triennial Conference, Copenhagen.,paper 1308
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=11de47ae-dd4d-4e53-8549-38011608d513

Spring M., Higgit C., Saunders D., Investigation of pigment-medium processes in oil paint containing degraded smalt,2005, in: National Gallery Technical Bulletin, vol 26, London,pp 56-70
http://www.nationalgallery.org.uk/technical-bulletin/spring_higgitt_saunders2005

—Craquelure —

Bucklow S., The description and classification of craquelure,1999, in: Studies in Conservation vol. 44 issue 4,pp 233-244

Suoniemi J., The conservation of craquelure in monochrome paintings,2017, in: Postprints from the ICOM-CC 18th Triennial Conference, Copenhagen.,paper 1318
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=8ba8486e-2258-4eac-ad5b-098d24661ee8

—Crazing —

Barten J., Lagana A., van Oosten T., Seen from behind: Consolidation of painted works on poly(methyl methacrylate) by László Moholy-Nagy,2017, in: Postprints of the ICOM-CC 18th Triennial Conference, Copenhagen, 2017,paper 0902
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=09fa60e5-5539-496f-9547-2154b69323d6

Murray A., Contreras de Berenfeld, C., Chang, S., Jablonski, E., Klein, T., Riggs, M., Robertson E.C., Tse W.M.A., The Condition and Cleaning of Acrylic Emulsion Paintings,2002, in: Symposium II – Materials Issues in Art and Archaeology VI, vol. 712 II.14,pp 249-253

—Crumbling —

Ebert B., Macmillan Armstrong S., Singer B., Grimaldi N., Analysis and Conservation Treatment of Vietnamese Paintings,2011, in: ICOM-CC 16th Triennial Meeting Postprints, Lisbon, 2011,paper 1305

Maisey S., Smithen P., Vilaro Soler A., Recovering from destruction: the conservation, reintegration and perceptual analysis of a flood-damaged painting by John Martin,2011, in: ICOM-CC 16th Triennial Meeting Postprints, Lisbon, 2011,paper 682
http://eprints.bbk.ac.uk/6682/1/6682.pdf

Mauny-van den Burg, J.M, Veerman A., van den Berg K.J., Trials and Tests for the Consolidation of Matte, Powdery Paints. Two Case Studies,2016, in: Colore e Conservazione, 13–14 November 2015, Politecnico di Milano. Padova,pp 185-193

Pocobene G., Hodkinson I., Use of a Pressure-Sensitive Adhesive to Facilitate the Transfer of a Severely Tented Painting,1992, in: JAIC vol. 31, iss. 2, 1992,pp 161-173

—Crust —

Boon J.J., Processes inside paintings that affect the picture: chemical changes at, near and underneath the paint surface,2006, in: Reporting the highlights of the De Mayerne programme NWO, The Hague, November 2006,pp 21-32
http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.454.8324&rep=rep1&type=pdf#page=21

Burnstock A., Cross M., Serres K., Insoluble surface spots, metal soaps and challenges in the conservation of Goya’s Portrait of Francisco de Saavedra,2017, in: Postprints of the ICOM-CC 18th Triennial Conference, Copenhagen, 2017,paper 1301
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=59ba2ca3-773d-4882-9ca0-fdb807bc872c

Sawicka A., Burnstock., Izzo F.C., Keune K., Boon J.J., Kirsch K., van den Berg K.J., An investigation into the viability of removal of lead soap efflorescence from contemporary oil paintings,2014, in: Issues in Contemporary Oil Paint,pp 311-332

Van der Snickt G., Janssens K., Dik J., De Nolf W., Vanmeert F., Jaroszewicz J.,Cotte M., Falkenberg G., Van der Loeff L., Combined use of Synchrotron Radiation Based Micro-X-ray Fluorescence, Micro-X-ray Diffraction, Micro-X-ray Absorption Near-Edge, and Micro-Fourier Transform Infrared Spectroscopies for Revealing an Alternative Degradation Pathway of the Pigment Cadmium Yellow in a Painting by Van Gogh,2012, in: Analytical Chemisty 2012 vol. 84 (23),pp 10221–10228

—Cupping —

Fife G.R., van Och J., Stabik B., Miedema N., Seymour K., Hoppenbrouwers R., Pack Mentality: The development of Tissue Gel Composite Cleaning at SRAL,2011, in: ICOM-CC 16th Triennial Meeting Postprints, Lisbon, 2011,paper 1312
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=9cbc532d-a034-4215-8a65-36852925ca95

Markevicius T. et al. , New approaches to an old problem: A precision mild heat-transfer method for nuanced treatment of sensitive contemporary and modern artworks,2017, in: Postprints from the ICOM-CC 18th Triennial Conference, Copenhagen.,paper 1308
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=11de47ae-dd4d-4e53-8549-38011608d513

Nigro E., Technical Study and Treatment of a Late-Nineteenth-Century Thai Panel Painting,2017, in: Winterthur/University of Delaware Program in Art Conservation,
http://resources.conservation-us.org/anagpic-student-papers/wp-content/uploads/sites/11/2018/03/anagpic2017_nigro_paper.pdf

—Darkening —

Berns R.S., Byrns S., Casadio F., Fiedler I., Gallagher C., Rejuvenating the Color Palette of Georges Seurat’s A Sunday on La Grande Jatte—1884: A Simulation,2006, in: Colour Research and Application vol. 31 iss. 4,pp 278-293

Hendriks E., Brokerhof A.W., van den Meiracker K., Valuing Van Gogh’s colours: From the past to the future,2017, in: Postprints of the ICOM-CC 18th Triennial Conference, Copenhagen, 2017,paper 1306
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=5b1a8893-aa2a-489f-80f0-38b1c125a99a

Keune K., Boon J.J., Analytical Imaging Studies Clarifying the Process of the Darkening of Vermilion in Paintings,2005, in: Analytical Chemisty 2005 vol. 77 (15),

Keune K., Boon J.J., Boitelle R., Shimadzu Y., Degradation of Emerald green in oil paint and its contribution to the rapid change in colour of the Descente des vaches (1834–1835) painted by Théodore Rousseau,2013, in: Studies in Conservation Vol. 58 Nr. 3,pp 896-897

Kolkena L., Blok V., van den Berg K.J., Megens L., Keune K., van Loon A., A phenomenological atlas of degradation of cadmium yellow oil paint in paintings by Piet Mondrian,2014, in: ICOM-CC 17th Triennial Conference, Melbourne 2014 ,pp 199-210

Kubik M.E., Preserving the painted image: the art and science of Conservation,2010, in: Colour: Design and Creativity vol.5 (2010) issue 5.,pp 1-8
http://jaic.jsitservices.co.uk/index.php/JAIC/article/view/12/11

Leone B., Burnstock A., Jones C., Hallebeek P., Boon J.J., Keune K., The deterioration of cadmium sulphide yellow artists' pigments,2005, in: ICOM-CC 14th triennial meeting The Hague, 12-16 Sept 2005 Preprints vol II James & James, London,pp 803-813

Mass J.L., Opila R., Buckley B., Cotte M., Church J., Mehta A., The photodegradation of cadmium yellow paints in Henri Matisse’s Le Bonheur de vivre (1905–1906),2013, in: Applied physics A vol.111, issue 1,pp 59-68

Monico L., Janssens K., Alfeld M., Cotte M., Vanmeert F., Ryan C.G., Falkenberg G., Howard D.L., Brunetti B.G., Miliani C., Full spectral XANES imaging using the Maia detector array as a new tool for the study of the alteration process of chrome yellow pigments in paintings by Vincent van Gogh.,2015, in: Journal of Analytical Atomic Spectrometry vol. 30,pp 613-626

Monico L., Janssens K., Hendriks E., Vanmeert F., Van der Snickt G., Evidence for Degradation of the Chrome Yellows in Van Gogh’s Sunflowers: A Study Using Noninvasive In Situ Methods and Synchrotron-Radiation-Based X-ray Techniques,2015, in: Angew Chemistry 2015 vol. 127 (47),pp 94-103

Monico L., Janssens K., Hendriks E., Vanmeert F., Van der Snickt G., Cotte M., Falkenberg G., Brunetti B.G., Miliani C., Evidence for Degradation of the Chrome Yellows in Van Gogh’s Sunflowers: A Study Using Noninvasive In Situ Methods and Synchrotron‐Radiation‐Based X‐ray Techniques,2015, in: Angewante Chemie vol.54 iss. 47,pp13923-13927

Monico L., van der Snickt G. Janssens K., de Nolf W., Miliani C., Dik J., Radepont M., Hendricks E., Geldof M., Cotte M., Degradation Process of Lead Chromate in Paintings by Vincent van Gogh Studied by Means of Synchrotron X-ray Spectromicroscopy and Related Methods. 2. Original Paint Layer Samples,2011, in: Analytical Chemistry 2011 83 (4),pp 14129–14133

Neider E., Hendriks E., Burnstock A., Colour change in sample reconstructions of Vincent van Gogh's grounds due to wax resin linings,2011, in: Studies in Conservation Vol. 56 Nr. 2,pp 4742-4750

Opila R., Church J., Fang F., Mass, J., Surface Analysis Meets Microscopy: Chemical Changes in Matisse Paintings,2012, in: Microscopy and Microanalysis, 18(S2),pp 1224-1231

Shimadzu Y. van den Berg K.J., On metal soap colour and transparency changes in a 19C painting by Millais,2006, in: Reporting the highlights of the De Mayerne programme NWO, The Hague, November 2006,pp 43-52
http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.454.8324&rep=rep1&type=pdf#page=21

Watson M., Burnstock A., An evaluation of colour change on nineteenth Century grounds on canvas upon varnishing and varnish removal,2010, in: New Insights into the cleaning of paintings. Proceedings from the cleaning 2010 international conference Universidad Politécnica de Valencia and Museum Conservation Institute. Smithsonian Institution Scholarly Press, Washington DC,pp 77-84

—Delaminating —

Griffin A., Young C., Hale T., ‘History is my material’ - Anselm Kiefer,2014, in: ICOM-CC 17th Triennial Conference, Melbourne 2014 ,paper 1305
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=4dc86890-ce1a-48d9-bfbb-e5fcdc5fbf9a

Helou-de la Grandière P., La Ho A-S., Mirambet F., Delaminating paint films at the end of 1950s: a case study on Pierre Soulages,2008, in: Preparation for Painting. The artist's choice and its Consequences. Archetype publications, London,pp 156-162

Helwig K., Poulin J., Corbeil M.C., Moffat E., Duguay D., Conservation issues in several twentieth-century Canadian oil paintings: The role of zinc carboxylate reaction products,2014, in: Issues in Contemporary Oil Paint,pp167-184

Maines CA., Rogala D., Lake S., Mecklenburg M., Deterioration in abstract expressionistic paintings: analysis of zinc oxide paint layers in works from the collection of the Hirschhorn museum and Sculpture Garden, Smithsonian Institution,2011, in: Materials Research Society Symposium Proceedings 1319,pp 275-284

—Discolouration —

Kirchner E., van der Lans I., Ligterink F., Geldof M., Megens L., Meedendorp T., Pils K., Hendriks E., Digitally reconstructing Van Gogh's Field with Irises near Arles part 3: Determining the original colors,2017, in: Colour Research and Application, vol 43. issue 3,pp 60-77
https://journals.sagepub.com/doi/10.1177/0003702816685097

Kubik M.E., Preserving the painted image: the art and science of Conservation.,2010, in: Colour: Design and Creativity vol.5 (2010) issue 5.,pp 1-8
http://jaic.jsitservices.co.uk/index.php/JAIC/article/view/12/11

Rioux J.-P., The Discoloration of Pinks and Purples in Van Gogh’s Paintings from Auvers,1999, in: Cezanne to Van Gogh: The Collection of Doctor Gachet, New York, NY: Metropolitan Museum of Art, Harry N. Abrams,pp 104-114

Roy A., Hendriks E., Van Gogh’s Sunflowers in London and Amsterdam,2016, in: National Gallery Technical Bulletin, vol. 37, 2016,pp 2600-2610

Spring M., Higgit C., Saunders D., Investigation of pigment-medium processes in oil paint containing degraded smalt,2005, in: National Gallery Technical Bulletin, vol 26, London,pp 311-327
http://www.nationalgallery.org.uk/technical-bulletin/spring_higgitt_saunders2005

—Dripping —

Boon J.J., Hoogland F.G., Investigating fluidizing dripping pink commercial paint on Van Hemert's Seven- Series works from 1990-1995,2014, in: Issues in Contemporary Oil Paint,pp 227-246

Boon J.J., Hoogland F.G., Van Eck E., Solid state 27 Al, 13 C and 1H NMR of fluidizing paint in Van Hemerts's Seven Series,2018, in: ,
https://www.jaap-enterprise.com/wp-content/uploads/2016/06/Poster-Soulages-ICOMCC-2014.pdf

Boon J.J., Lister K., Investigating aged oil-medium phase separating and exuding as drips from a 1960's painting by Pierre Soulages ,2014, in: ICOM-CC 17th Triennial conference preprints, Melbourne, 15-19 Sept 2014,art. 0901

Boon J.J., Lister K., Investigating aged oil-medium phase separating and exuding as drips from a 1960s painting by Pierre Soulages.,2014, in:  Preprints of the ICOM-CC 17th Triennial Conference, Melbourne, 15-19 september 2014.,art. 1317

De Ségogne, H., Théorème de Gödel by Georges Mathieu, 1957. Study and Restoration: Consolidation through cohesive regeneration using a solvent,2014, in: Issues in Contemporary Oil Paint,pp 149-157

Duffy M., McGlinchey C., Weeping Cadmium paint: a case study.,2001, in: Deterioration of artists' paints: effects and analysis. Extended abstract of presentation of ICOM-CC Paintings Working Group. 10 and 11 Sept 2001, Londen,pp 81-83

Franken V., Heydenreich G., Jägers E., Müller W., Schulz J., Zumbühl S., Set back the race: treatment strategies for running oil paint,2014, in: Issues in Contemporary Oil Paint,pp 333-349

Tank Bronken I.A., Boon J.J., Softening paint and drip formation in paintings by Jean-Paul Riopelle (1923–2002): improving their condition with metal coordinating ions.,2014, in: Preprints of ICOM-CC 17th Triennial Conference, Melbourne, 15-19 September 2014.,art. 1303

Tank Bronken I.A., Boon J.J., Corkery R., Steindal C., Changing surface features, weeping and metal soap formation in paintings by Karel Appel and Asger Jorn from 1946–1971. ,2018, in: Journal of Cultural Heritage ,

—Efflorescence —

Akerlund L., Efflorescence: An investigation of selected paintings from the 19th to the 21st century with a preliminary experimental study of the role of moisture in the development of efflorescence.,2012, in: Courtald Institute of Art Third Year project.,
http://www.collectiewijzer.nl/2013/01/18/efflorescence-in-paintings-and-the-role-of-moisture-by-luciana-akerlund/

Izzo F.C., van den Berg K.J., van Keulen H., Ferriani B., Zendri E., Modern oil paints- Formulations, organic additives and degradation: some case studies.,2014, in: Issues in Contemporary Oil Paint,pp 75-104

Keune K., Kirsch K., Boon J.J., Lead soap efflorescence in a nineteenth-century painting: appearance, nature and sources of materials.,2007, in: AIC Paintings Specialty Group postprints, Rhode Island, 16-19th June 2006 vol.19 AIC, Washington DC.,pp 146-150

Noble P., Boon JJ. , Metal soap degradation of oil paintings: aggregates, increased transparency and efflorescence.,2007, in: AIC Paintings Specialty Group postprints 19,pp 1-15
https://cool.conservation-us.org/waac/wn/wn20/wn20-1/wn20-108.html

Ordonez E., Twilley J., Clarifying the Haze: efflorescence on works of art,1997, in: Analytical Chemistry 69 (13),pp 416a-422a

Osmond G., Zinc White and the influence of paint composition for stability in oil based media,2014, in: Issues in Contemporary Oil Paint,pp 263-281

Sandbakken E.G., Tveit E.S., Preserving a Master: Edvard Munch and His Painted Sketches,2012, in: Journal of Urban Culture Research Vol. 5 2012,pp 86-104
https://www.tci-thaijo.org/index.php/JUCR/article/view/20514/17822

Sawicka A., Burnstock., Izzo F.C., Keune K., Boon J.J., Kirsch K., van den Berg K.J., An investigation into the viability of removal of lead soap efflorescence from contemporary oil paintings,2014, in: Issues in Contemporary Oil Paint,pp 311-332

Sutherland K., An Investigation into the Relationship Between Organic Composition of Commercially Prepared Grounds and Efflorescence,1995, in: ,

—Exuding Medium —

Bayliss S., van den Berg K.J., Burnstock A., de Groot S., van Keulen H., Sawicka A., An investigation into the separation and migration of oil in paintings by Erik Oldenhof,2016, in: Microchemical Journal vol. 124, jan 2016,pp 974-982

Boon J.J., Lister K., Investigating aged oil-medium phase separating and exuding as drips from a 1960s painting by Pierre Soulages,2014, in:  Preprints of the ICOM-CC 17th Triennial Conference, Melbourne, 15-19 september 2014.,art. 1317
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=61fffeee-a3c3-425f-a639-c72611601147

Corbeil M.C., Helwig K., Poulin J., Analysis of the painted Œuvre of Jean-Paul Riopelle: From oil to mixed media ,2004, in: Studies in Conservation vol. 49 (2004) sup. 2: 'Modern Art, New Museums: Contributions to the Bilbao Congress ,pp 170-173

Tank Bronken I.A., Boon J.J., Hard dry paint, softening tacky paint, and exuding drips on Composition (1952) by Jean-Paul Riopelle,2014, in: Issues in Contemporary Oil Paint,pp 247-262
https://www.jaap-enterprise.com/wp-content/uploads/2016/06/Drip-formation-in-Riopelle-ICOM-CC_2014.pdf

Tumosa C.S., Mecklenberg M.F., Oil paints: the chemistry of drying oils and the potential for solvent disruption,2013, in: New insight into the cleaning of paintings. Proceedings from the cleaning 2010 international conference Universidad Politécnica de Valencia and Museum Conservation Institute. Smithsonian Institution Scholarly Press, Washington, DC,pp 52-58

—Fading —

Berrie B.H., Strumfels Y., Change is permanent: thoughts on the fading of cochineal-based watercolor pigments,2017, in: Heritage Science 2017: vol. 5 iss. 30,
https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-017-0143-4

Burnstock A.,Lanfear I., van den Berg K.J.,Carlyle L., Clarke M., et al., Comparison of the Fading and Surface Deterioration of Red Lake Pigments in Six Paintings by Vincent van Gogh with Artificially Aged Paint Reconstructions,2005, in: ICOM-CC 14th Triennial Meeting Preprints, The Hague, Netherlands,pp 459-466

Cadorin P., Colour Fading in Van Gogh and Gauguin.,1991, in: A Closer Look: Technical and Art-Historical Studies of Works by Van Gogh and Gauguin, Amsterdam, Rijksmuseum: Waanders Publishers,pp 12-19

Fieberg J.E., Knutas P., Hostettler K., Smith G.D., “Paintings Fade Like Flowers”: Pigment Analysis and Digital Reconstruction of a Faded Pink Lake Pigment in Vincent van Gogh’s Undergrowth with Two Figures,2017, in: Applied Spectroscopy Vol.71 Nr. 5,pp 10221–10228

Fiedler I., Hendriks E., Meedendorp T., Menu M., Salvant J., Materials, Intention and Evolution,2016, in: Van Gogh’s Bedrooms, New Haven, CT and London, UK: Yale University,pp 68-103

Gervais C., Languille M.A., Réguer S., Gillet M., Pelletier S., Garnier C., Vicenzi E.P., Bertrand L., Why does Prussian blue fade? Understanding the role(s) of the substrate,2013, in: Journal of Analytical Atomic Spectrometry vol. 10,pp 1600-1609

Kirchner E., van der Lans I., Ligterink F., Geldof M., Megens L., Meedendorp T., Pils K., Hendriks E., Digitally reconstructing Van Gogh's Field with Irises near Arles part 3: Determining the original colors,2017, in: Colour Research and Application, vol 43. issue 3,pp 268-289

Kirchner E., van der Lans I., Ligterink F., Geldof M., Ness Proano Gaibor A., Hendriks E., Janssens K., Delaney J., Digitally reconstructing Van Gogh's Field with Irises near Arles.Part 2: Pigment concentration maps,2018, in: Colour Research and Application, vol 43. issue 2,pp 158-176

Kubik M.E., Preserving the painted image: the art and science of Conservation,2010, in: Colour: Design and Creativity vol.5 (2010) issue 5.,pp 1-8
http://jaic.jsitservices.co.uk/index.php/JAIC/article/view/12/11

Megens L., Geldof M., de Keijzer M., van Bommel M.R., van Keulen H., Van Gogh’s Geranium Lake,2013, in: Van Gogh’s Studio Practice, Amsterdam, Netherlands: Mercatorfonds,pp 967-980

Pouyet E., Cotte M., Fayard B., Salomé M., Meirer F., Mehta A., et al., 2D X-ray and FTIR micro-analysis of the degradation of cadmium yellow pigment in paintings of Henri Matisse.,2015, in: Applied physics A vol.121, issue 3,

Rioux J.-P., The Discoloration of Pinks and Purples in Van Gogh’s Paintings from Auvers,1999, in: Cezanne to Van Gogh: The Collection of Doctor Gachet, New York, NY: Metropolitan Museum of Art, Harry N. Abrams,pp 104-114

Stenger J., Non-Invasive Color Restoration of Faded Paintings Using Light from a Digital Projector,2011, in: Postprints of the ICOM-CC 16th Triennial Conference, Lisbon, 2011,paper 1007
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=6c59abd1-0c01-4fe1-86ba-032005c35ad7

Townsend J., Ormsby B., Smithen P., Barker R. , A microfading study of Mark Rothko’s materials for the Seagram murals (1958-59),2017, in: Postprints of the ICOM-CC 18th Triennial Conference, Copenhagen, 2017,paper 1023
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=cdc6dc67-875f-43c7-9884-01552101955f

van Bommel M., Geldof M., Hendriks E., An Investigation of Organic Red Pigments used in Paintings by Vincent van Gogh (November 1885 to February 1888),2005, in:  ArtMatters (Netherlandish Technical Studies in Art) 2005 vol. 3,pp 111-137

van den Berg K.J., Burnstock A., Carlyle L., Clarke M., Hendriks E., Hoppenbrouwers R., Kirby J., Lanfear I., Fading of red lake paints after Vincent van Gogh- an interdiciplinary study involving three De Mayerne projects,2006, in: Reporting the highlights of the De Mayerne programme NWO, The Hague, November 2006,pp 89-96
http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.454.8324&rep=rep1&type=pdf#page=21

van der Snickt G., Dik J.,Cotte M., Janssens K., Jaroszewicz J., De Nolf W., Groenewegen J., van der Loeff L., Characterization of a Degraded Cadmium Yellow (CdS) Pigment in an Oil Painting by Means of Synchrotron Radiation Based X-ray Techniques,2009, in: Analytical Chemistry 2009 81 (7),pp 794-808
https://journals.sagepub.com/doi/10.1177/0003702816685097

Van der Snickt G., Janssens K., Dik J., De Nolf W., Vanmeert F., Jaroszewicz J.,Cotte M., Falkenberg G., Van der Loeff L., Combined use of Synchrotron Radiation Based Micro-X-ray Fluorescence, Micro-X-ray Diffraction, Micro-X-ray Absorption Near-Edge, and Micro-Fourier Transform Infrared Spectroscopies for Revealing an Alternative Degradation Pathway of the Pigment Cadmium Yellow in a Painting by Van Gogh,2012, in: Analytical Chemisty 2012 vol. 84 (23),pp 311-327

—Flaking —

de Bernadis S., Shot and dropped: The conservation of a Niki de Saint Phalle Shooting Picture,2011, in: Postprints of the ICOM-CC 16th Triennial Conference, Lisbon, 2011,paper 1319
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=08a02d96-26af-4e29-9d40-b3ddf896516a

Ebert B., Macmillan Armstrong S., Singer B., Grimaldi N., Analysis and Conservation Treatment of Vietnamese Paintings,2011, in: ICOM-CC 16th Triennial Meeting Postprints, Lisbon, 2011,paper 1305
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=6cac91f5-8f61-4ce6-87ea-d0430eda025b

O'Donoghue E., Johnson AM., Mazurek J., Preusser F., Schilling M., Walkton MS., Dictated by media: Conservation and technical analysis of a 1938 Joan Miró canvas painting.,2006, in: Studies in Conservation 51(2),pp 66-68

Witlox M., Asger Jorn's abstract minded figure (1962) Opstaande verf door schildertechniek en consolidatie (Dutch),2003, in: Cr (1),pp 26-32

—Fluidising Paint —

Boon J.J., Hoogland F.G., Investigating fluidizing dripping pink commercial paint on Van Hemert's Seven- Series works from 1990-1995,2014, in: Issues in Contemporary Oil Paint,pp 227-246

Franken V., Heydenreich G., Jägers E., Müller W., Schulz J., Zumbühl S., Set back the race: treatment strategies for running oil paint,2014, in: Issues in Contemporary Oil Paint,pp 333-349

Hoogland F.G., van der Horst J., Boon J.J., Liquefying oil paint in some late-twentieth century oil paintings,2007, in: Modern paints uncovered. Getty Conservation Institute, los Angeles,pp 282-283

Schultz J., Liquefying oil paint: contemporary paintings in danger.,2011, in: ICOM-CC 16th triennial meeting postprints, Lisbon 2011,paper 1320
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=939c2065-4d9a-4c65-a28f-fff4d5a99310

Schultz J., "Flussige Ölfarbschichten" in zeitgenössischen Gemälden. Untersuchung zu Ursachen- Möglischkeiten der Restaurierung am Beispiel des Werkes "Harvest" (1993) van Otto Piene.,2008, in: Diploma Thesis, Cologne University of Applied Sciences,

Vila A., Andersen C.L., Segel K., Rasmussen P., Tal R: Liquefying paint- A new collaboration between museum and artist's studio.,2014, in: Postprints of the ICOM-CC 17th Triennial Conference, Lisbon, 2014,paper 1014
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=76331917-9ae8-4900-a110-a5735644e9db

—Foxing —

Coddington J., Modern Paints, Conservation of,2007, in: Modern Paints Uncovered: Proceedings from the Modern Paints Uncovered Symposium, Getty Conservation Institute, Tate and National Gallery of Art. ,pp 30-42

Millard T., Le Cornu E., Smith R., Hassler E., Cowdy H., Chisholm R., King E., The conservation of 830 oil paintings on paper by Marianne North,2011, in: Journal of the Institute of Conservation Vol. 34, 2011, Issue 2,pp 159-172

—Ghosting —

Noble P., van Loon A. , Evaporation of Fatty Acids and Formation of Whitish Deposits on the Inside of the Glass/ Microclimate boxes: a case study in the Mauritshuis,2009, in: EU-PROPAINT – Improved Protection of Paintings during Exhibition, Storage and Transit. Final Activity Report 2010,pp 149-164
http://propaint.nilu.no/Portals/23/PROPAINT-Final%20Report.pdf

Schilling M.R., Carson D.M., Khanjian H.P., Evaporation of fatty acids and the formation of ghost images by framed oil paintings,1998, in: WAAC Newsletter, vol 21 Nr. 1 Sept 1998,pp 1-5
http://cool.conservation-us.org/waac/wn/wn21/wn21-1/wn21-106.html

Williams S.R., Blooms, Blushes, Transferred Images and Mouldy Surfaces: What are these Distracting Accretions on Art Works?,1989, in:  Proceedings of the 14th Annual IIC-CG Conference May 27-30, 1988, Toronto.,pp 65-85

—Graffiti —

Baglioni P., Baglioni M., Alterini M., Giorgi R., Shashoua Y., Brajer I., Nanofluids confined in chemical hydrogels for the selective removal of graffiti from street art,2017, in: Postprints of the ICOM-CC 18th Triennial Conference, Copenhagen, 2017,paper 0901
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=20f34efc-b19c-4f0d-8de5-c982613a3a3b

Barker R., Ormsby B., Conserving Mark Rothko's Black on Maroon, 1958: The construction of a 'representative sample' and the removal of graffiti ink,2015, in: Tate research papers nr.23,
https://www.researchgate.net/profile/Bronwyn_Ormsby/publication/277993256_Conserving_Mark_Rothko's_Black_on_Maroon_1958_The_Construction_of_a_'Representative_Sample'_and_the_Removal_of_Graffiti_Ink/links/55780ea108aeacff200066bd.pdf

Cordess C., Turcan M., Art Vandalism,1993, in: The British Journal of Criminology vol. 33 issue 1.,pp 95-102

Esson J.M., Scott R., Hayes C.J., Chemistry and Art: Removal of Graffiti Ink from Paints Grounded in a Real-Life Scenario,2018, in: Journal of Chemical Education 2018 vol.95 nr. 3,pp 400-402

Giorgi R., Baglioni M., Baglioni P., Nanofluids and chemical highly retentive hydrogels for controlled and selective removal of overpaintings and undesired graffiti from street art,2017, in: Analytical and Bioanalytical Chemistry, June 2017, vol. 409, issue 15,pp 3707-3712

Ormsby B., Tucker C., Donate F.,Keefe M., Smithen P., Barker R., The removal of graffiti ink from Mark Rothko’s Black on Maroon, 1958; a collaborative approach,2014, in: Postprints of the ICOM-CC 17th Triennial Conference, Melbourne, 2014,paper 1007
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=29b488c5-a131-4b7f-8b3d-d3d394303bc4

—Imbibed Dirt —

Chavannes M., Diependaal H., van keulen H., Wijnberg L., Bongaarts M., Leeuwestein M., Catucci-de Groot S., “I try to keep surfaces as anonymous as possible”. Conservation issues in Richard Serra's monumental paintstick drawings on canvas.,2014, in: ICOM-CC 17th Triennial Conference, Melbourne 2014 ,paper 1001
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=4dc86890-ce1a-48d9-bfbb-e5fcdc5fbf9a

Cooper A., Burnstock A., van den Berg K.J., Ormsby B., Water sensitive oil paints in the twentieth century: a study of the distribution of water-soluble degradation products in modern oil paint films,2014, in: Issues in Contemporary oil paint,pp 295-310

Daudin-Schotte M., Bisschoff M., Joosten I., Keulen H., van den Berg K.J., Dry cleaning approaches for unvarnished paint surfaces,2013, in: New Insights into the cleaning of paintings. Proceedings from the cleaning 2010 international conference Universidad Politécnica de Valencia and Museum Conservation Institute. Smithsonian Institution Scholarly Press, Washington DC,pp 209-219

Griffin A., Young C., Hale T., "History is my material" - Anselm Kiefer,2014, in: ICOM-CC 17th Triennial Conference, Melbourne 2014 ,pp 209-219
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=532b337e-c2f6-4067-95af-e852ee259169

Izzo F.C., van den Berg K.J., van Keulen H., Ferriani B., Zendri E., Modern oil paints- Formulations, organic additives and degradation: some case studies.,2014, in: Issues in Contemporary Oil Paint,pp 75-104

Jablonski E., Learner T., Hayes J., Golden M., The Conservation of Acrylic Emulsion Paintings: A Literature Review,2010, in: ,
https://www.researchgate.net/publication/260400209_The_Conservation_of_Acrylic_Emulsion_Paintings_A_Literature_Review

Jablonski E., Learner T., Hayes J., Golden M., Conservation concerns for acrylic emulsion paints,2003, in: Studies in Conservation vol. 48, 2003, Issue sup.1: Reviews in Conservation,pp 3-12

Morrison R., Bagley-Young A., Burnstock A., van den Berg K.J., van Keulen H., An investigation of parameters for the use of citrate solutions for surface cleaning unvarnished paintings.,2007, in: Studies in Conservation vol 52 nr.4, IIC, London,pp 255-270

Murray A., Contreras de Berenfeld, C., Chang, S., Jablonski, E., Klein, T., Riggs, M., Robertson E.C., Tse W.M.A., The Condition and Cleaning of Acrylic Emulsion Paintings.,2002, in: Symposium II – Materials Issues in Art and Archaeology VI, vol. 712 II.14,pp 249-253

Ormsby B., Learner T.,Richie S., Schilling M., Improved controlled temperature and relative humidity DMA of artists' acrylic emulsion paint films. Part 1.,2007, in: Journal of Thermal Analysis and Calorimetry, Vol. 90 (2007) 1.,paper 1305

Perry R., Problems of Dirt accumulation and its removal from unvarnished paintings: a practical review,1990, in: Dirt and pictures separated. papers given at a conference held jointly by UKIC and the Tate Gallery, January 1990,pp 3-6

Steyn L., Stols-Witlox M., Hendriks E., van den Berg K.J., Cleaning modern oil paints: The removal of imbibed surface dirt. Towards an integrated conservation methodology for the assessment, contextualization and treatment of imbibed surface dirt on unvarnished modern oil paintings,2017, in: Postprints of the ICOM-CC 18th Triennial Conference, Copenhagen, 2017,paper 1317

—Lifting —

De Ségogne, H., Théorème de Gödel by Georges Mathieu, 1957. Study and Restoration: Consolidation through cohesive regeneration using a solvent,2014, in: Issues in Contemporary Oil Paint,pp 149-157

Maisey S., Smithen P., Vilaro Soler A., Recovering from destruction: the conservation, reintegration and perceptual analysis of a flood-damaged painting by John Martin,2011, in: ICOM-CC 16th Triennial Meeting Postprints, Lisbon, 2011,paper 682
http://eprints.bbk.ac.uk/6682/1/6682.pdf

—Loose Dirt —

Cremonesi P., Surface cleaning? Yes, freshly grated Agar gel, please,2016, in: Studies in Conservation vol.61, 2016, issue 6,pp 362-367

Daudin-Schotte M., Bisschoff M., Joosten I., Keulen H., van den Berg K.J., Dry cleaning approaches for unvarnished paint surfaces,2013, in: New Insights into the cleaning of paintings. Proceedings from the cleaning 2010 international conference Universidad Politécnica de Valencia and Museum Conservation Institute. Smithsonian Institution Scholarly Press, Washington DC,pp 205-212

Daudin-Schotte M., van Keulen H., Dry cleaning: research and practice,2014, in: Issues in Contemporary Oil Paint,pp 373-388

Daudin-Schotte M., van Keulen H., van den Berg K.J., Analysis and application of dry cleaning materials on unvarnished paint surfaces, RCE project 2006-2009,2014, in: CESMAR7 2014,pp 135-149

Green T., Surface dirt removal from unvarnished paint films.,1990, in: Dirt and pictures separated. papers given at a conference held jointly by UKIC and the Tate Gallery, January 1990,pp 15-16

Hackney S., The removal of dirt from Turner's unvarnished oil sketches,1990, in: Dirt and pictures separated. papers given at a conference held jointly by UKIC and the Tate Gallery, January 1990,pp 51-55

Hackney S., The art and science of cleaning paintings,2010, in: New Insights into the cleaning of paintings. Proceedings from the cleaning 2010 international conference Universidad Politécnica de Valencia and Museum Conservation Institute. Smithsonian Institution Scholarly Press, Washington DC,pp 11- 18

Morrison R., Bagley-Young A., Burnstock A., van den Berg K.J., van Keulen H., An investigation of parameters for the use of citrate solutions for surface cleaning unvarnished paintings.,2007, in: Studies in Conservation vol 52 nr.4 2007,pp 255-270

Ormsby B., Learner T., The effects of wet surface cleaning treatments on acrylic emulsion artists' paints – a review of recent scientific research,2009, in: Studies in Conservation, vol. 54, 2009, issue sup 1: reviews in Conservation vol. 10 2009,pp 29-41

Ormsby B., Learner T., Schilling M., Druzik J., Khanjian H., Carson D., Foster G., Sloan M., The effects of surface cleaning on acrylic emulsion paintings-a preliminary investigation.,2006, in: Oberflächenreinigung; materialien und methoden. VDR schriftenreihe, 2nd edn. Theiss Verlag, Stuttgart,pp 3-10

Ormsby B.A., An empirical evaluation of a range of cleaning agents for removing dirt from artists acrylic emulsion paints,2013, in: AIC specialty group postprints, 23rd edn.,pp 77-87

Perry R., Problems of Dirt accumulation and its removal from unvarnished paintings: a practical review,1990, in: Dirt and pictures separated. papers given at a conference held jointly by UKIC and the Tate Gallery, January 1990,pp 3-6

Phenix A., Burnstock A., The deposition of dirt: a review of the literature, with scanning electron microscope studies of dirt on selected paintings,1990, in: Dirt and pictures separated. papers given at a conference held jointly by UKIC and the Tate Gallery, January 1990,

Phenix A., Burnstock A., The removal of surface dirt on paintings with chelating agents,1992, in: Conservator vol. 16,pp 28-38

Stangier S.,, Fleurs Grises -A delicate surface. Difficult to clean-Essential to protect,2014, in: Issues in Contemporary Oil Paint,pp 363-372

Todd V., The visual effects of dirt on paintings,1990, in: Dirt and pictures separated. papers given at a conference held jointly by UKIC and the Tate Gallery, January 1990,pp

Veríssimo Mendes B., van den Berg K.J., Megens L., Joosten I., Daudin M., New approaches to surface cleaning of unvarnished contemporary oil paintings- Moist sponges and cloths,2014, in: Issues in Contemporary Oil Paint,pp 255-270

Wolbers R., Cleaning Painted Surfaces: Aqueous methods,2000, in: Archetype publications, London,

—Powdering/Chalking —

Ebert B., Macmillan Armstrong S., Singer B., Grimaldi N., Analysis and Conservation Treatment of Vietnamese Paintings,2011, in: ICOM-CC 16th Triennial Meeting Postprints, Lisbon, 2011,paper 1305
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=6cac91f5-8f61-4ce6-87ea-d0430eda025b

Ebert B., Singer B., Grimaldi N., Aquazol as a consolidant for matte paint on Vietnamese paintings,2012, in: Journal of the Institute for Conservation 35 (1),pp 62-76

Geiger T., Michel F., Studies on the polysaccaride Junfunori used to consolidate matte paint,2005, in: Studies in Conservation 50(3),pp 193-204

Gorel F., Assessment of agar gel loaded with micro-emulsion for the cleaning of porous surfaces,2010, in: CeROArt,
http://ceroart.revues.org/1827?lang=fr.

Haiml C., Restoring The Immaterial: study and treatment of Yve Klein's Blue Monochrome (IKB 42),2007, in: Modern Paints Uncovered: Proceedings from the Modern Paints Uncovered Symposium, Getty Conservation Institute, Tate and National Gallery of Art. ,pp 149-158

Hansen E. F., Lowinger R., Sadoff T. E. , Consolidation of porous paint in a vapour-saturated atmosphere,1993, in: Journal fof the American Insititute for Conservation vol. 32. Nr. 1,pp 1-14

Hansen E.F., Lowinger R., Investigations into techniques for the consolidation of high pigment volume concentration paint at the Getty Institute,1990, in: WAAC Newsletter vol.12 (3), 1990,pp 13-16

Leone B., Burnstock A., Jones C., Hallebeek P., Boon J.J., Keune K., The deterioration of cadmium sulphide yellow artists’ pigments,2005, in: ICOM-CC 14th triennial meeting The Hague, 12-16 Sept 2005 Preprints vol II James & James, London,pp 803-813

Mauny-van den Burg, J.M, Veerman A., van den Berg K.J., Trials and Tests for the Consolidation of Matte, Powdery Paints. Two Case Studies.,2016, in: Colore e Conservazione, 13–14 November 2015, Politecnico di Milano. Padova,pp 185-193

Michalski S. et al. , The ultrasonic mister: applications in the consolidation of powerdery paints on wooden artifacts,1998, in: Painted wood: history and conservation Los Angeles: Getty Conservation Institute,pp 418-513

Michel F., Funori and JunFunori: two related consolidants with suprising properties,2011, in: Canadian Conservation Institute Symposium, Ottawa,pp 1-14

Nigro E., Technical Study and Treatment of a Late-Nineteenth-Century Thai Panel Painting,2017, in: Winterthur/University of Delaware Program in Art Conservation,
http://resources.conservation-us.org/anagpic-student-papers/wp-content/uploads/sites/11/2018/03/anagpic2017_nigro_paper.pdf

Sandbakken E.G., Tveit E.S., Preserving a Master: Edvard Munch and His Painted Sketches,2012, in: Journal of Urban Culture Research Vol. 5 2012,pp 86-104
https://www.tci-thaijo.org/index.php/JUCR/article/view/20514/17822

—Protrusions/Aggregates —

Boon JJ., Keune K., Zucker J., Imaging analytca studis of lead soaps aggregating in preprimed canvas used by the Hudson River School painter FE Church,2005, in: Microscience Microanal 11 (suppl 2),pp 444-445

Duffy M., Martins A., Boon J.J., Metal soaps and visual changes ina painting by René Magritte- The Menaced Assassin, 1927,2014, in: Issues in Contemporary Oil Paint,pp197-203

Faubel W., Simn R., Heissler S., Friedrich F., Weidler PG., Becker J., Schmidt W., Protrusions in a painting by Max Backmann examined with confocal u-XRF,2011, in: Anal Atomic Spectrum 26 (5),pp 942-948

Ferreira E.S.B. Boon J.J., Stampanoni M., Marone, F., Study of the mechanism of formation of calcium soaps in an early 20th-century easel painting with correlative 2D and 3D microscopy,2011, in: Preprints of ICOM-CC Lisbon, Icom committee for conservation 16th triennial meeting, Lisbon 2011,

Helwig K., Poulin J., Corbeil M.C., Moffat E., Duguay D., Conservation issues in several twentieth-century Canadian oil paintings: The role of zinc carboxylate reaction products,2014, in: Issues in Contemporary Oil Paint,pp 167-184

Higgitt C., Spring M., Saunders D., Pigment-medium interactions in oil paint films containing red lead or lead-tin yellow,2003, in: National Gallery Technical Bulletin 24,pp 75-95

Keune K., Boon J.J., Analystical imaging studies of cross sections of paintings affected by lead soap aggretate formation,2007, in: Studies in Conservation 52,pp 161-176

Mecklenburg M.F., Tumosa C.S., Vicenzi E.P., The influence of pigment and ion migration on the durability of drying oil and alkyd paints,2013, in: New Insights into the cleaning of paintings. Proceedings from the cleaning 2010 international conference Universidad Politécnica de Valencia and Museum Conservation Institute. Smithsonian Institution Scholarly Press, Washington DC,pp. 59-67

Noble P., Boon JJ. , Metal soap degradation of oil paintings: aggregates, increased transparency and efflorescence,2007, in: AIC Paintings Specialty Group postprints 19,pp 1-15

O'Donoghue E., Johnson AM., Mazurek J., Preusser F., Schilling M., Walkton MS., Dictated by media: Conservation and technical analysis of a 1938 Joan Miró canvas painting,2006, in: Studies in Conservation 51(2),pp 66-68

Osmond G., Keune K., Boon JJ. , A study of zinc soap aggregates in a late 19th century painting by R.G. Rivers at the Queensland Art Gallery,2005, in: AICCM bulletin 29,pp 37-46

van der Weerd J., Geldof M., van der Loeff L.S., Meeren R.M.A., Boon J.J., Zinc soap aggregate formation in 'Falling Leaves' (Les alyschamps) by Vincent van Gogh,2003, in: Kunsttechnologie Konservierung 17(2),pp 407-416

—Soft(ening) Paint —

Griffin A., Young C., Hale T., ‘History is my material’ - Anselm Kiefer,2014, in: Postprints of ICOM-CC 17th Triennial Conference, Melbourne 2014 ,paper 1305
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=4dc86890-ce1a-48d9-bfbb-e5fcdc5fbf9a

Tank Bronken I.A., Boon J.J., Hard dry paint, softening tacky paint, and exuding drips on Composition (1952) by Jean-Paul Riopelle,2014, in: Issues in Contemporary Oil Paint,pp 247-262

Tank Bronken I.A., Boon J.J., Softening paint and drip formation in paintings by Jean-Paul Riopelle (1923–2002): improving their condition with metal coordinating ions,2014, in: Postprints of ICOM-CC 17th Triennial Conference, Melbourne, 15-19 September 2014.,art. 1303
https://www.icom-cc-publications-online.org/publicationDetail.aspx?cid=de4e45db-acf3-460c-bf54-fa03db4fe7b6

Tank Bronken I.A., Boon J.J., Corkery R., Steindal C., On the changing appearance of, and potential treatment options for, softening and dripping paints in CoBrA oil paintings,2016, in: Studies in Conservation, 61(sup2),pp. 269–270

—Soot —

Rutledge S.K., Banks B.A., Forkapa M., Stueber T., Sechkar E., Malenowski K., Atomic oxygen treatment as a method for recovering smoke damaged paintings,2000, in: JAIC vol. 39 nr 1. art.5,
http://cool.conservation-us.org/jaic/articles/jaic39-01-005.html

Tsang J.S., Babo S., Soot Removal From Acrylic Emulsion Paint Test Panels: A Study of Dry and Non-contact Cleaning,2011, in: ICOM-CC 16th Triennial Meeting Postprints, Lisbon, 2011,paper 1008
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=111056da-a19e-4584-b095-718a65068641

Volk A., van den Berg K.J., Agar- a new tool for the surface cleaning of water sensitive oil paint? ,2014, in: Issues in Contemporary Oil Paint,pp 389-406

—Spatter —

Morrison R., Bagley-Young A., Burnstock A., van den Berg K.J., van Keulen H., An investigation of parameters for the use of citrate solutions for surface cleaning unvarnished paintings,2007, in: Studies in Conservation vol 52 nr.4,pp 255-270

Veríssimo Mendes B., van den Berg K.J., Megens L., Joosten I., Daudin M., New approaches to surface cleaning of unvarnished contemporary oil paintings- Moist sponges and cloths,2014, in: Issues in Contemporary Oil Paint,pp 373-388

Volk A., van den Berg K.J., Agar- a new tool for the surface cleaning of water sensitive oil paint? ,2014, in: Issues in Contemporary Oil Paint,pp 389-406

—Stain —

Coddington J., Conservation of Modern Paints,2007, in: Modern Paints Uncovered: Proceedings from the Modern Paints Uncovered Symposium, Getty Conservation Institute, Tate and National Gallery of Art. ,pp 30-42

Smithen P., A history of the treatment of acrylic painting,2007, in: Modern Paints Uncovered: Proceedings from the Modern Paints Uncovered Symposium, Getty Conservation Institute, Tate and National Gallery of Art. ,pp 165-176

—Tacky —

Chavannes M., Diependaal H., van keulen H., Wijnberg L., Bongaarts M., Leeuwestein M., Catucci-de Groot S., ‘I try to keep surfaces as anonymous as possible’. Conservation issues in Richard Serra's monumental paintstick drawings on canvas,2014, in: ICOM-CC 17th Triennial Conference, Melbourne 2014 ,paper 1001

De Ségogne, H., Théorème de Gödel by Georges Mathieu, 1957. Study and Restoration: Consolidation through cohesive regeneration using a solvent,2014, in: Issues in Contemporary Oil Paint,pp 149-157

Smithen P., A history of the treatment of acrylic painting,2007, in: Modern Paints Uncovered: Proceedings from the Modern Paints Uncovered Symposium, Getty Conservation Institute, Tate and National Gallery of Art. ,pp 165-176

Tank Bronken I.A., Boon J.J., Hard dry paint, softening tacky paint, and exuding drips on Composition (1952) by Jean-Paul Riopelle,2014, in: Issues in Contemporary Oil Paint,pp 247-262

—Tenting —

Ebert B., Macmillan Armstrong S., Singer B., Grimaldi N., Analysis and Conservation Treatment of Vietnamese Paintings,2011, in: ICOM-CC 16th Triennial Meeting Postprints, Lisbon, 2011,paper 1305

Maisey S., Smithen P., Vilaro Soler A., Recovering from destruction: the conservation, reintegration and perceptual analysis of a flood-damaged painting by John Martin,2011, in: ICOM-CC 16th Triennial Meeting Postprints, Lisbon, 2011,paper 682
http://eprints.bbk.ac.uk/6682/1/6682.pdf

Mauny-van den Burg, J.M, Veerman A., van den Berg K.J., Trials and Tests for the Consolidation of Matte, Powdery Paints. Two Case Studies,2016, in: Colore e Conservazione, 13–14 November 2015, Politecnico di Milano. Padova,pp 185-193

Pocobene G., Hodkinson I., Use of a Pressure-Sensitive Adhesive to Facilitate the Transfer of a Severely Tented Painting,1992, in: JAIC vol. 31, iss. 2, 1992,pp 161-173

—Tideline —

Arslanoglu J., Aquazol as used un conservation practice,2004, in: WAAC Newsletter vol. 26 nr.1 2004,pp 86-104
http://cool.conservation-us.org/waac/wn/wn26/wn26-1/wn26-105.pdf

Beerkens L., Noble P., Weerdenberg S., From Pollock drips to perfect white in Jan Schoonhoven’s Zero reliefs,2017, in: Postprints of the ICOM-CC 18th Triennial Conference, Copenhagen, 2017,paper 0903
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=b4fd819a-ec23-4e61-8a9a-084a8830ec50

Norton A., The conservation of a contemporary collage,1999, in: American Institute for Conservation, Book and Paper Group Annual conference, 1999,pp 56-70
https://cool.conservation-us.org/coolaic/sg/bpg/annual/v18/bp18-11.html

Sandbakken E.G., Tveit E.S., Preserving a Master: Edvard Munch and His Painted Sketches,2012, in: Journal of Urban Culture Research Vol. 5 2012,
https://www.tci-thaijo.org/index.php/JUCR/article/view/20514/17822

—Wet (Non-drying) Paint —

Franken V., Heydenreich G., Jägers E., Müller W., Schulz J., Zumbühl S., Set back the race: treatment strategies for running oil paint,2014, in: Issues in Contemporary Oil Paint,pp 333-349

Tank Bronken I.A., Boon J.J., Corkery R., Steindal C., Changing surface features, weeping and metal soap formation in paintings by Karel Appel and Asger Jorn from 1946–1971.,2018, in: Journal of Cultural Heritage ,

van Keulen H., Slow-drying oil additives in modern oil paints, and application in conservation treatments. An analytical study in technical historical perspective,2014, in: ICOM-CC 17th Triennial conference preprints, Melbourne, 15-19 Sept 2014,paper 1316
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=11d4c050-0abb-4030-89a6-f21587e91ece

—White Phenomena —

Hinde L., van den Berg K.J., de Groot S., Burnstock A., Characterisation of surface whitening in twentieth century European paintings at Dudmaston Hall,2011, in: ICOM-CC 16th Triennial meeting, Lissabon 2011.,paper 1310
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=47a2f3da-60d2-469e-a00e-01c512c21cbf

Molinari S., White phenomena on the surfaces of 24 unvarnished paintings by Willem Witsen,2014, in: CeROArt,
https://journals.openedition.org/ceroart/3994

Sawicka A., Burnstock., Izzo F.C., Keune K., Boon J.J., Kirsch K., van den Berg K.J., An investigation into the viability of removal of lead soap efflorescence from contemporary oil paintings,2014, in: Issues in Contemporary Oil Paint,pp 311-332

—Whitening —

Hinde L., van den Berg K.J., de Groot S., Burnstock A., Characterisation of surface whitening in twentieth century European paintings at Dudmaston Hall,2011, in: ICOM-CC 16th Triennial meeting, Lissabon 2011.,paper 1310

Vanmeert F., van der Snikt G., Janssens K., Plumbonacrite Identified by X‐ray Powder Diffraction Tomography as a Missing Link during Degradation of Red Lead in a Van Gogh Painting,2015, in: Angewandte Chemie, vol.54 iss. 12,pp 3607-3610

—Wrinkling —

Casadio F., Interdisciplinary investigation of early house paints: Picasso, Picabia and their ‘Ripolin’ paintings,2011, in: ICOM-CC 16th Triennial meeting postprints, Lissabon 2011.,paper 1310
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=fa1ad4ac-2b16-4f7b-9141-9942d8209f63

Izzo F.C., van den Berg K.J., van Keulen H., Ferriani B., Zendri E., Modern oil paints- Formulations, organic additives and degradation: some case studies,2014, in: Issues in Contemporary Oil Paint,pp 75-104

McMillan G., Casadio F., Fiedler I., Sorano-Stedman V., An investigation into Kandinsky's use of Ripolin in his paintings after 1930,2013, in: Journal for the American Institute of Conservation, vol. 52.,pp 258-277

Tempest H., Burnstock A., Saltmarch P., van den Berg K.J., Sensitivity of oil paint surfaces to aqueous and other solvents,2013, in: New insight into the cleaning of paintings. Proceedings from the cleaning 2010 international conference Universidad Politécnica de Valencia and Museum Conservation Institute. Smithsonian Institution Scholarly Press, Washington, DC,pp 107-114

—Yellowing —

Carlyle L., Binnie N., Kaminska E., Ruggles A., The yellowing/bleaching of oil paintings and oil paint samples, including the effect of oil processing, driers and mediums on the colour of lead white paint,2002, in: ICOM-CC 13th Triennial Meeting Preprints, Rio di Janerio, 22-27 September 2002,pp 328-337

Hamm J., Gavett B., Golden M., Hayes J., Kelly C., Messinger J., Contompasis M., Suffield B., The discoloration of acrylic dispersion media,1993, in: Saving the Twentieth century: the conservation of modern materials, Canadian Conservation Institute, Ottawa, 1993 ,pp 381-392

Jablonski E., Learner T., Hayes J., Golden M., The Conservation of Acrylic Emulsion Paintings: A Literature Review,2010, in: ,
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Townsend J., Do oil paintings darken when they are protected from light?,2007, in: Turner studies newsletter, vol. 107,pp 9-10

Townsend J., The yellowing/bleaching behaviour of oil paint- further investigations into significant colour change as a response to dark storage followed by light exposure,2011, in: Postprints of the ICOM-CC 16th Triennial Conference, Lisbon, 2011,paper 1307
https://www.icom-cc-publications-online.org/PublicationDetail.aspx?cid=4c89f7ad-739d-4fe4-846a-d2a97f2f9c5c

Whitmore P.M., Colaluca V.G., The natural and accelerated aging of an acrylic artists’ medium,1995, in: Studies in Conservation vol. 41, nr. 1, 1995,pp 51-64

Whitmore P.M., Colaluca V.G., Morris H.R., The light bleaching of discoloured films of an acrylic artists’ medium,2002, in: Studies in Conservation vol. 47, nr. 4, 2002,pp 237-249