Klejenie i stabilizacja rozdarć obrazów malowanych na płótnach bez użycia zaprawy
The Gluing and Stabilisation of Tears in Paintings Executed on Canvas Without Priming Ground

Summary/Abstract: The intention of this article was to bring the leader closer to the origin, construction and conservation of untypical paintings executed on unprimed canvases. The introduction discusses, i. a. historical and technological issues. The research section of the article attempts to define the usefulness of select acrylic binders for gluing tears, with particular consideration for repairs conducted in cases of paintings executed without priming ground. The author evaluated the following binders : Primal AC33, Primal AC634, Acrysol G110, Acrysol WS24 (used as thickeners), Rhoplex N560, Plexisol P550, polyvinyl acetate and cellulose acetate. The last three, universally used for gluing, i. a. paper and cloth, were applied for comparative purposes. The usefulness of binders for the contact bonding of tears was defined upon the basis of accepted criteria for the penetration and permeation of the canvas, flexibility, consistence and pot life, the adhesion of water binders to the film of the binder (essential at the stage of retouching), sheen, total drying, and resilience to tearing. An ambiguous appraisal of the usefulness of the examined binders poses a difficult task in view of the individual needs of a concrete object. The conducted research, however, makes it possible to propose general rules, helpful in an initial selection of binders for repairing canvas. Bonding; the same is true, especially in the case of cloth canvases, for cellulose acetate, which can be successfully applied for gluing paper. Primal AC33 and Primal AC634 disclose properties similar to a mixture of polyvinyl acetate and osacryl. The supplement discusses the use of the above listed binders for the purposes of duplication.

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