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Deterioration in Abstract Expressionist Paintings: Analysis of Zinc Oxide Paint Layers in Works from the Collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution

Published online by Cambridge University Press:  12 April 2011

Christopher A. Maines
Affiliation:
National Gallery of Art, Washington DC 20565, U.S.A.
Dawn Rogala
Affiliation:
Museum Conservation Institute, Smithsonian Institution, Landover MD 20785, U.S.A.
Susan Lake
Affiliation:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC 20560, U.S.A.
Marion Mecklenburg
Affiliation:
Museum Conservation Institute, Smithsonian Institution, Landover MD 20785, U.S.A.
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Abstract

A recent visual survey of Abstract Expressionist-era paintings in the collection of the Hirshhorn Museum and Sculpture Garden (HMSG), Smithsonian Institution revealed a particular type of paint layer separation. Earlier work by the authors showed that zinc oxide in oil paint is a contributing factor to the problem. Ten samples from five Abstract Expressionist-era paintings as well as twenty-three samples eight years or older from the Smithsonian Institution’s (SI) Materials Study Collection were analyzed by pyrolysis – gas chromatography – mass spectrometry (Py-GC-MS), and unexpectedly significant amounts of oleic (cis-octadecenoic) acid were detected in samples containing high proportions of zinc oxide (25 % or greater by weight). In a typical fully cured oil paint, the oleic acid is oxidized to azelaic (nonanedioic) acid. Although the formation of zinc soaps in oil paints is well-known, the detection of zinc oleate in paints by Py-GC-MS has never been described. The close-packing of the oleate chains in the plate-like structure of zinc oleate prevents the oxidation of the cis-double bond, and therefore prevents the formation of azelaic acid. The detection of zinc oleate in paintings is an indication that the paint layers are at risk for future separation.

Type
Research Article
Copyright
Copyright © Materials Research Society 2011

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