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YAĞLI BOYA RESİMLERİN SAKLAMA KOŞULLARINA BAĞLI RENK DEĞİŞİMİ VE YÜZEYSEL YIPRANMALARININ TESPİTİ

Yıl 2020, Cilt: 5 Sayı: 10, 239 - 249, 31.07.2020

Öz

Yağlı boya resim yapmada kullanılan yağlı boyalar; keten tohumu yağı gibi incelticiler içinde dağılmış pigment taneleri bulunan, fırçayla uygulanan ve yavaş kuruyan örtücü bir boya türüdür. Jel halindeki yüksek viskoziteli boyanın, kullanım sırasında gerekirse terebentin veya bazı yağlar gibi bir inceltici ilave edilerek viskozitesi ayarlanabilir. Boyanın uygulanmasından sonra kanvas/tuval üzerinde kuruma sonrası parlaklığını arttırmak için bir miktar vernik de uygulanabilir. Yağlı boya ile tuval bezi üzerine resim yapmada malzeme kalitesi iyi olduğunda, boya iyi uygulandığında ve uygulama sırasındaki bütün fiziksel şartlar optimum olarak yerine getirildiğinde doğal olarak eserin de fiziksel kalitesi iyi olacaktır. Görsel ve sanatsal kalite ise sanatçının birikimi ve yeteneği ile doğru orantılı olarak biçimlenir. Fiziksel olarak çok iyi vücuda getirilen ve sanatsal değeri toplum tarafından tartışmasız kabul edilen bazı eserlerin çok uzun yıllar bozulmadan gelecek nesillere korunarak iletilmesi gerekir. Bu nedenle de sanatsal ve maddi değeri gün geçtikçe artan bu eserlerin optimum şartlarda muhafaza edilmesi zorunludur. Aksi halde, yıllar içinde doğal olarak yaşlanacak eserlerin ne yazık ki fiziksel olarak daha hızlı yıpranmasına ve dolayısıyla da daha hızlı renk değişimine sebebiyet verilecektir. Çalışmada 25 yıl önce aynı şartlarda aynı malzemeler kullanılarak yapılan iki eserin iyi ve kötü saklama koşullarına bağlı olarak renk, malzeme ve görsel kalite kayıpları tespit edilmiştir. Eserlerin üzerindeki boyaların Gretag Macbeth Spektrofotometre ile L*a*b* renk değerleri ölçülerek referans değerlerle mukayesesi yapılmış, mikroskopla zemin malzeme (tuval bezi) görüntüleri üzerinde yapılan incelemelerle fiziksel bozulmalar ve renk sapmaları tespit edilmiştir.

Kaynakça

  • Abdel-Haliem, M.E.F., Sakr, A.A., Ali, M.F. Ghaly & M.F. & Sohlenkamp, C. (2013).
  • Characterization of Streptomyces isolates causing colour changes of muralpaintings in ancient Egyptian tombs. Microbiological Research, 168, 428-437.
  • Abo-Taleb, Th. & Orabi, E. (2019). Degradation Of Vermilion Red Color In Oil And Mural Paintings: A Comparative Applied Study. Egyptian Journal of Archaeological and Restoration Studies, 9(2), 197-206.
  • Andersen, C. K., Taube, M., Vila, A., & Baadsgaard, E. (2016). Zinc, Paint loss and Harmony in blue: Degradation problems in Peder Severin Krøyer’s paintings and the possible role of zinc white. Perspective.
  • Berrie, B.H. & Strumfels, Y. (2017). Change is permanent: thoughts on the fading of cochinealbased watercolor pigments. Herit Sci 5, 30.
  • Bonaduce, I., Carlyle, L., Colombini, M.P., Duce, C., Ferrari, C., Ribechini, E., Selleri, P. & Tiné, M.R. (2012). New Insights into the Ageing of Linseed Oil Paint Binder: A Qualitative and Quantitative Analytical Study. PLoS One, 7(11): e49333.
  • Bullock, L. (1978). Reflectance Spectrophotometry for Measurement of Colour Change. National Gallery Technical Bulletin, 2.
  • CFDM (Color fading and deterioration of materials], Philadelphia Museum of Art), (accessed by May, 05, 2020). https://www.philamuseum.org/conservation/10.html?page=1
  • Elert, K. & Cardell, C. (2019). Weathering behavior of cinnabar-based tempera paints upon natural and accelerated aging. Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy, 216, 236-248.
  • Frazier, M.C. (2008). Optimizing of Museum Lighting, LD+A Magazine, September.
  • Galića, E., Ljevak, I. & Zjakić, I. (2015). The Influence of UV Varnish on Colorimetric Properties of Spot Colors. Procedia Engineering, 100, 1532-1538.
  • Hackey, S. (2020). On Canvas: Preserving the Structure of Paintings. Getty Publications.
  • Hartin, D.H. & Baker, W. (2018). Caring for paintings. Preventive conservation guidelines for collections, Canadian Conservation Institute.
  • Manea, M.M., Negut, C.D., Stanculescu, I.R. & Ponta, C.C. (2012). Irradiation effects on canvas oil painting: Spectroscopic observations. Radiation Physics and Chemistry, 81, 1595-1599.
  • McCormack, J. (2000). The darkening of cinnabar in sunlight. Mineral. Deposita 35, 796-798.
  • Pavic, A., Ilic-Tomic, T., Aleksandar Pacevski, A., Nedeljkovic, T., Vasiljevic, B. & Ivana Moric, I. (2015). Diversity and biodeteriorative potential of bacterial isolates from deteriorated modern combined-technique canvas painting. International Biodeterioration & Biodegradation, 97, 40- 50. Rizzo, M.M., Machadoc, L.D.B., Borrelyc, S.I., Sampac, M.H.O., Relac, P.R., Farahb & J.P.S., Schumacherb, R.I. (2002). Effects of gamma rays on a restored painting from the XVIIth century. Radiation Physics and Chemistry, 63, 259-262.
  • Rytuba, J. (2003). Mercury from mineral deposits and potential environmental impact, Environmental Geology, 43 (3), 326-338.
  • Sáez-Pérez, M.P., Rodríguez-Gordillo, J. & Durán-Suárez, J.A. (2016). Synthetic white pigments (white titanium and white zinc) in different binding media. Influence of environmental agents. Construction and Building Materials, 114, 151-161.
  • Sarkar, R. & Mazumdar, S. (2016). Studies and experiments for determination of degradation of paintings in museum art galleries caused by artificial light sources. Light & Engineering 24(2), 12-21. Ural, E., Özomay, Z. ve Özdemir, L. (2018). Palm Yağı Katkılı Mürekkeplerin Baskı Kalitesine Etkisinin Belirlenmesi. MSU Fen Bilimleri Dergisi, 6(1), 533-537.
  • van Loon, A. (2008). Color changes and chemical reactivity in seventeenth-century oil paintings. WMPIC (What makes the painting image change?), Smitsonian Museum Conservation Institute (accessed by May, 06, 2020). https://www.si.edu/mci/english/learn_more/taking_care/ painting_change.html
  • Zdeňka, C., Švarcová, S., Hradilová, J., Bezdička, P., Lančok, A., Vašutová, V., Blažek, J. & Hradil, D. (2015). Temperature-related degradation and colour changes of historic paintings containing vivianit. Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy, 140, 101-110.
  • Zilbergleyt, B. (2005). Forecast of the chemical aging and related color changes in painting, Physics.chem-ph arXiv preprint physics/0505037, Cornell University.

YAĞLI BOYA RESİMLERİN SAKLAMA KOŞULLARINA BAĞLI RENK DEĞİŞİMİ VE YÜZEYSEL YIPRANMALARININ TESPİTİ

Yıl 2020, Cilt: 5 Sayı: 10, 239 - 249, 31.07.2020

Öz

Oil paints, which are used in oil painting, are slow-drying, brush applicable and dye-based covering paints with pigment particles dispersed in thinners such as linseed oil. The viscosity of the paint that is in high viscosity and gel form can be adjusted by adding a solvent such as turpentine or spirits during use. After applying the paint, some varnish can be added to increase the gloss after drying on the canvas. In painting on canvas with oil paint, when the quality of the material is good, the paint is applied well and all the physical conditions are optimally applied, then the physical quality of the work will naturally be good. Visual and artistic quality is shaped proportionally according to the experience and talent of the artist. Some works that are painted physically in perfect condition and whose artistic values are considered indisputable by the society must be preserved and delivered to future generations without deterioration for many years. Therefore, these paintings, whose artistic and financial values are increasing day by day, must be taken care of under optimum conditions. Otherwise, the paintings that will naturally age over the centuries will unfortunately result in faster physical wear and therefore aging. In the study, colour, material and visual quality losses were determined due to the good and bad storage conditions of two paintings that were made using the same materials under the same conditions 25 years ago. L*a*b* colour values of the paints on these two paintings were measured with Gretag Macbeth Spectrophotometer and compared with reference values, and also physical distortions and colour deviations were detected by examining the base material (canvas) images with a microscope.

Kaynakça

  • Abdel-Haliem, M.E.F., Sakr, A.A., Ali, M.F. Ghaly & M.F. & Sohlenkamp, C. (2013).
  • Characterization of Streptomyces isolates causing colour changes of muralpaintings in ancient Egyptian tombs. Microbiological Research, 168, 428-437.
  • Abo-Taleb, Th. & Orabi, E. (2019). Degradation Of Vermilion Red Color In Oil And Mural Paintings: A Comparative Applied Study. Egyptian Journal of Archaeological and Restoration Studies, 9(2), 197-206.
  • Andersen, C. K., Taube, M., Vila, A., & Baadsgaard, E. (2016). Zinc, Paint loss and Harmony in blue: Degradation problems in Peder Severin Krøyer’s paintings and the possible role of zinc white. Perspective.
  • Berrie, B.H. & Strumfels, Y. (2017). Change is permanent: thoughts on the fading of cochinealbased watercolor pigments. Herit Sci 5, 30.
  • Bonaduce, I., Carlyle, L., Colombini, M.P., Duce, C., Ferrari, C., Ribechini, E., Selleri, P. & Tiné, M.R. (2012). New Insights into the Ageing of Linseed Oil Paint Binder: A Qualitative and Quantitative Analytical Study. PLoS One, 7(11): e49333.
  • Bullock, L. (1978). Reflectance Spectrophotometry for Measurement of Colour Change. National Gallery Technical Bulletin, 2.
  • CFDM (Color fading and deterioration of materials], Philadelphia Museum of Art), (accessed by May, 05, 2020). https://www.philamuseum.org/conservation/10.html?page=1
  • Elert, K. & Cardell, C. (2019). Weathering behavior of cinnabar-based tempera paints upon natural and accelerated aging. Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy, 216, 236-248.
  • Frazier, M.C. (2008). Optimizing of Museum Lighting, LD+A Magazine, September.
  • Galića, E., Ljevak, I. & Zjakić, I. (2015). The Influence of UV Varnish on Colorimetric Properties of Spot Colors. Procedia Engineering, 100, 1532-1538.
  • Hackey, S. (2020). On Canvas: Preserving the Structure of Paintings. Getty Publications.
  • Hartin, D.H. & Baker, W. (2018). Caring for paintings. Preventive conservation guidelines for collections, Canadian Conservation Institute.
  • Manea, M.M., Negut, C.D., Stanculescu, I.R. & Ponta, C.C. (2012). Irradiation effects on canvas oil painting: Spectroscopic observations. Radiation Physics and Chemistry, 81, 1595-1599.
  • McCormack, J. (2000). The darkening of cinnabar in sunlight. Mineral. Deposita 35, 796-798.
  • Pavic, A., Ilic-Tomic, T., Aleksandar Pacevski, A., Nedeljkovic, T., Vasiljevic, B. & Ivana Moric, I. (2015). Diversity and biodeteriorative potential of bacterial isolates from deteriorated modern combined-technique canvas painting. International Biodeterioration & Biodegradation, 97, 40- 50. Rizzo, M.M., Machadoc, L.D.B., Borrelyc, S.I., Sampac, M.H.O., Relac, P.R., Farahb & J.P.S., Schumacherb, R.I. (2002). Effects of gamma rays on a restored painting from the XVIIth century. Radiation Physics and Chemistry, 63, 259-262.
  • Rytuba, J. (2003). Mercury from mineral deposits and potential environmental impact, Environmental Geology, 43 (3), 326-338.
  • Sáez-Pérez, M.P., Rodríguez-Gordillo, J. & Durán-Suárez, J.A. (2016). Synthetic white pigments (white titanium and white zinc) in different binding media. Influence of environmental agents. Construction and Building Materials, 114, 151-161.
  • Sarkar, R. & Mazumdar, S. (2016). Studies and experiments for determination of degradation of paintings in museum art galleries caused by artificial light sources. Light & Engineering 24(2), 12-21. Ural, E., Özomay, Z. ve Özdemir, L. (2018). Palm Yağı Katkılı Mürekkeplerin Baskı Kalitesine Etkisinin Belirlenmesi. MSU Fen Bilimleri Dergisi, 6(1), 533-537.
  • van Loon, A. (2008). Color changes and chemical reactivity in seventeenth-century oil paintings. WMPIC (What makes the painting image change?), Smitsonian Museum Conservation Institute (accessed by May, 06, 2020). https://www.si.edu/mci/english/learn_more/taking_care/ painting_change.html
  • Zdeňka, C., Švarcová, S., Hradilová, J., Bezdička, P., Lančok, A., Vašutová, V., Blažek, J. & Hradil, D. (2015). Temperature-related degradation and colour changes of historic paintings containing vivianit. Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy, 140, 101-110.
  • Zilbergleyt, B. (2005). Forecast of the chemical aging and related color changes in painting, Physics.chem-ph arXiv preprint physics/0505037, Cornell University.
Toplam 22 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Araştırma Makalesi
Yazarlar

Şehnaz Yalçın Bu kişi benim

Yayımlanma Tarihi 31 Temmuz 2020
Yayımlandığı Sayı Yıl 2020 Cilt: 5 Sayı: 10

Kaynak Göster

APA Yalçın, Ş. (2020). YAĞLI BOYA RESİMLERİN SAKLAMA KOŞULLARINA BAĞLI RENK DEĞİŞİMİ VE YÜZEYSEL YIPRANMALARININ TESPİTİ. Uluslararası Disiplinlerarası Ve Kültürlerarası Sanat, 5(10), 239-249.