La retícula de Kevlar® 49 como sistema de refuerzo en el tratamiento de rasgados en la conservación curativa de pintura sobre lienzo
- Daniel Morales-Martín 1
- Luis Rodrigo Rodríguez Simón 2
- 1 Dpto. Pintura y Conservación-Restauración en la Facultad de Bellas Artes, UCM
- 2 Profesor Titular de Restauración de Pintura de Caballete. Universidad de Granada
ISSN: 1989-8568
Year of publication: 2022
Issue: 22
Pages: 47-57
Type: Article
More publications in: Ge-conservación
Abstract
In recent years, aramid fibre, commercially called Kevlar®, has been used in the treatment of the textile support in easel paintings. This material, present in different formats, has a series of physical-chemical and morphological qualities that make it of interest for the local or general consolidation of canvases. In the following work, the Kevlar® 49 thread has been used to make different grids that serve as punctual reinforcement in the intervention of tears on the painted fabric supports. Through 24 models, different types of grids that have been subjected to accelerated ageing have been studied. Once the tests were finished, one of the tested models was rejected due to the stiffness of the applied reinforcement. However, the qualities of the rest of the tests have been highlighted, showing that this material and the proposed application methodology represent a good method of consolidating the textile support
Bibliographic References
- BESEDNJAK, A. (2009). Materiales compuestos. Procesos de fabricación de embarcaciones, Universitat Politècnica de Catalunya, Barcelona, España.
- BUZZEGOLI, E., CIATTI, M., KUNZELMAN, D. (2003). “Tecniche alternative per la conservazione dei dipinti su tela: l´esperienza del seminario di Vishwa Raj Mehra”. OPD Restauro, 15: 123-135.
- CALVO, A. (1997). Materiales, técnicas y procedimientos. De la A a la Z. El Serbal, Barcelona, España.
- DOMÉNECH, M. T. (2018). Análisis químico y examen científico de patrimonio cultural, Síntesis, Madrid, España.
- FRATELLI, M., TIBILETTI, A., RIGGIARDI, D. et. al. (2008). “Open studio sulle semilunette della Galleria Vittorio Emanuele II consérvate allá Galleria d´Arte Moderna di Milano”. In atti 2º Congresso Internazionale Cesmar7 Colore e conservazione, l´attenzione alle superficie pittoriche, material e metodi per il consolidamento e método scientifici per valutarne l´efficacia. Milano: Il prato.
- GARCÍA, J. M., GARCÍA, F. C., SERNA, F. et. al. (2010). “High-performance aromatic polyamides”. Progress in Polymer Science, 35 (5): 623-686. https://doi.org/10.1016/j.progpolymsci.2009.09.002.
- GIANOTTI, L. (2005). “Sistema di supporto provvisorio reticolare per un dipinto su tela temporáneamente privato del suo telaio ligneo”. In atti 2º Congresso Internazionale Cesmar7 Colore e conservazione, mínimo intervento conservativo nel restauro del dei dipinti, a cura del cesmar7. Padova: Il prato.
- GÓRECKA, K., SKLODOWSKI, M., PAWLOWSKI, P. et. al. (2015). “New Materials and Methods Used in the Conservation of the XVIIIth Century Curvilinear Canvas Painting “Adoration of the Magi” from the SaintAubain Cathedral Church in Namur (Belgium)”. European Journal of Science and Theology, 11 (2): 45-53.
- HACKNEY, S. (2020). On canvas. Preserving the structure of paintings, The Getty publications, The Angels, USA.
- HEDLEY, G. A., & PERCIVAL-PRESCOTT, W. (1974). Conference on comparative lining techniques: National Maritime Museum [Greenwich], April 1974. [Greenwich], [National Maritime Museum].
- HEIBER, W., DEMUTH, P. (2007). Microcirugía textil para el tratamiento de rasgados en pintura sobre lienzo, Universidad Politécnica de Valencia, Valencia, España.
- MEAD, J., MEAD, K., AUERBACH, I. et. al. (1982). “Accelerated aging of Nylon 66 and Kevlar 29 in elevated temperature, elevated humidity, smog and ozone”. Industrial & Engineering Chemistry Product Research and Development, 21: 163-170. https://doi.org/10.1021/i300006a006
- ORATA, L. (2010). Tagli e strappi nei dipinti su tela. Metodologie di intervento, Nardini, Firenze, Italia.
- Organización Internacional de Normalización. (2022). Adhesivos. Designación de los principales modelos de rotura. (ISO: 10365).
- PACHECO, F. (1982). Arte de la Pintura. Concepto, técnicas, colores y medios en el siglo de Oro, 1649. Leda, Barcelona, España.
- PARRINI, P. (1978). “A new lining canvas”. In 5th Triennial meeting ICOM Committee for Conservation, Zagreb,
- ROCHE, A. (2003). Comportament mécanique des peintures sur toile, CNRS, Paris, Francia.
- ROUDET, L. (2009). “L´intervention minimale en conservation-restauration des biens culturels: exploration d´une notion”. Conservation-Restauration des Biens Culturels, 27: 21-24.
- SALAS, C., PORRAS-ISLA, M. (2018). Proyecto Coremans. Criterios de intervención en pintura de caballete, Ministerio de Cultura y Deporte, Madrid, España.
- SÁNCHEZ, A. (2012). Restauración de obras de arte. Pintura de caballete, Akal, Madrid, España.
- TOMASONI, B. (2005). La crocifissione di Dro. Un’esperienza di minimo intervento su un dipinto di grandi dimensioni. Il Prato, Padova, Italia.
- VV. AA. ClipCarbono (2018). “Aramid roving 805 tex” https://www.clipcarbono.com/es/comprar-telas-y-refuerzos-para-resinas-composite/779-bobina-de-hilo-de-fibra-de-kevlar-805tex.html
- ZHANG, H., ZHANG, J., CHEN, J. et. al. (2006). “Effects of solar UV irradiation on the tensile properties and structure of PPTA fiber”. Polymer Degradation and Stability, 91: 2761-2767. https://doi.org/10.1016/j.polymdegradstab.2006.03.025