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1、ConservationConcernsforAcrylicEmulsionPaints:ALiteratureReviewElizabethJablonski,TomLearner,JamesHayesandMarkGoldenDetailfromJohnHoyland’sSaracen1977,acrylicemulsiononcanvas,takeninrakinglightfromtheright.©JohnHoyland/BridgemanArtLibraryAcrylicemulsionartists’paintswerereceivedwithmu
2、chfanfareandexcitementinthe1950sand1960s.Theyembodiedthecharacteristicsthatmanyartistshadbeensearchingforatthattime,affordingameansofexpressionthatwasdistinctfromoilpaintinganditsassociatedhistoryandtraditions.AsKennethNolanddescribedit,‘therewasanurgetoloosenpainting.[Thesecolours]r
3、eleasednewkindsoftactilequalities’.1Thesesyntheticpaintsproducedfilmsofgreatclarityandphenomenalelasticity,wereeasytomanipulate,couldbepainteddirectlyontosupports,driedquickly,werethinnedwithwaterandexhibitedhighresistancetoultravioletdegradation.JohnHoylandrecalled,‘Irememberreading
4、articlesinmagazines.Theytalkedabouttheradianceof[acrylicpaint]andthefluidityofitandthatitwouldneveryellow.Itseemedexcitinginthewaypeoplegotexcitedabouttheuseofplastics,aluminiumandotherindustrialmaterials’.2HelenFrankenthaler,whoswitchedfromusingoilpaintstoacrylicemulsionsintheearly1
5、960s,said:Ichangedtoacrylicsforanumberofreasons.Once,Iwastoldthattheydryfaster,whichtheydo,andthattheyretaintheiroriginalcolour,whichtheydo.Iwouldsaydurabilityandlightandthefactthatonecanusewaterinsteadofturpentine:allthatmakesiteasiergiventheabstractimage.Aspaintingneededlessandless
6、dryingtime,depth,andsoforth,thematerialscamealongthatmadethatmoreobvious.3Inspiteoftheiroutstandingmechanicalandagingproperties,acrylicemulsionpaintingsdosufferdamage,oftenthroughexternalinfluences.Withintheconservationprofession,concernsweresoonraisedassomeofthesenewlypaintedworksbe
7、gantorequirecleaningandrepair.45Similarthemeswerediscussedinthefollowingdecades.678Essentially,threefundamentalproblemswereidentified.Thefirstwasthatmostconservationtreatmentshadbeendesignedfortraditionalpaintingsinoilandwerefoundunsuitableforacrylicemulsionpaintings,dueinparticulart
8、othehighsens
