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Wrinkling

The appearance of uneven (small) folds, ridges or furrows resulting in an undulating layer in the paint layer, usually in pastose paint.

COMMENT: COMMENT: The causation can be due to multiple factors, such as impact causing fresh paint to move and compress into a smaller area, or when the upper paint film or surface dries faster than the lower layers (or deeper part of an impasto) causing the shrinkage of the upper layer.

Literature

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

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

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

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

Schroei

Het verschijnen van oneven (kleine) vouwen, groeven en richels met gevolg een golvende laag in de verflaag, meestal in pasteuse verf.

Opmerking: De oorzaak kan door verschillende factoren zijn, zoals een stoot met gevolg dat verse verf schuift en samenperst in een kleiner gebied, of wanneer de bovenste verflaag of oppervlak sneller droogt dan de onderlagen (of dieper deel van een impasto) met krimpen van de bovenste laag als gevolg.

Literatuur

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

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

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

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