{"title":"Conservation of a Termite-Damaged Acrylic Painting: Treatment Solutions for Gordon Bennett’s Number three (2004)","authors":"M. Ewing, Anne Carter, Gillian Osmond","doi":"10.1080/10344233.2022.2104548","DOIUrl":null,"url":null,"abstract":"This paper details the conservation treatment of an acrylic painting on linen canvas which had suffered damage by termites. In response to the many challenges posed by such an unusual and extensive damage type, conservators at the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) developed innovative solutions for structural treatment and loss compensation through problem solving and experimentation. The complexities of the treatment included finding appropriate conservation materials and techniques which were compatible with the specific sensitivities of an unvarnished contemporary acrylic emulsion painting. An innovative ‘back-filling’ technique using Evasol® was developed.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"42 1","pages":"118 - 131"},"PeriodicalIF":0.0000,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"AICCM Bulletin","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/10344233.2022.2104548","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
Abstract
This paper details the conservation treatment of an acrylic painting on linen canvas which had suffered damage by termites. In response to the many challenges posed by such an unusual and extensive damage type, conservators at the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) developed innovative solutions for structural treatment and loss compensation through problem solving and experimentation. The complexities of the treatment included finding appropriate conservation materials and techniques which were compatible with the specific sensitivities of an unvarnished contemporary acrylic emulsion painting. An innovative ‘back-filling’ technique using Evasol® was developed.