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Powdering/Chalking

A dry, matte surface appearance where the paint often also becomes whiter and lighter. It generally starts on the surface and alters either only the surface or up to a few micrometres deep

Related terms

(White) Haze
Whitening
Crumbling

COMMENT: COMMENT: Chalking or powdering is due to the scattering of light of the surface paint film caused by the breakdown of binding medium causing a loss of cohesion and the generation of very fine particles on the surface. This may affect only one colour, or only one area of a painting.

Literature

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

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.

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

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

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

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

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

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

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

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

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

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

Poederende verf

Een oppervlak met een droge, poederige uitstraling en waar de verf ook vaak lichter en witter is geworden. Meestal begint het fenomeen op het oppervlak en verandert het alleen het oppervlak, soms tot een paar micrometers diep.

Opmerking: Poederende verf is het resultaat van de degradatie van het verfbindmiddel aan het oppervlak met het resultaat dat hele fijne deeltjes overblijven. Deze verstrooien het licht op het oppervlak. Het kan één kleur aantasten, of een gebied.

Literatuur

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

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.

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

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

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

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

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

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

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

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

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

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