This PhD research project examines new cleaning methods for the removal of artist-applied commercial synthetic varnishes from sensitive modern paintings. Ten varnished acrylic paintings will be used as case studies to test the removability of varnishes. These paintings were made in the period of 1966–1982 by prominent Norwegian artists represented in the collection of the National Museum.
Examining methods to safely remove degraded varnishes
Acrylic varnishes can become discoloured over time, getting cloudy and milky, and affecting the clarity of the colours and the composition of a painting. This can negate the impact and meaning of the artwork. The research will review a range of synthetic varnishes produced by several leading commercial paint manufacturers used by Norwegian artists. The project aims to find an appropriate and sustainable cleaning method to safely remove degraded acrylic varnishes without affecting the underlying acrylic and PVA (polyvinyl acetate) paint films. Removing these varnishes is challenging due to the chemical similarity of the paint and the varnish.
A selection of commercially available varnishes from various manufacturers, designed for use over acrylic paint.
Photo: Laura Homer
Dag Skedsmo, “Untitled”, 1980. © Skedsmo, Dag/BONO
Photo: Laura Homer
Further reading
- The text “Laura Homer: Hvordan nanoteknologi kan redde ikoniske akrylmalerier” (2024) by Monica Høyer, about the use of nanotechnology in the conservation of paintings (article in Norwegian).
- The chapter “Varnishing of acrylic paintings by artists” by Mark Golden in the book Conservation of Easel Paintings (2021), edited by Joyce Hill Stoner and Rebecca Rushfield, published by Routledge.
- The text “A preliminary evaluation of artists’ and conservation varnishes for acrylic emulsion paint films” (2011) by Bronwyn Ormsby et al., published as a postprint for the ICOM Committee for Conservation 16th Triennial Conference in Lisbon.