Contemporary Art Research: Modern Paints
Paints made over the last seventy years have been increasingly likely to contain synthetic binders and pigments. These synthetic paints - including house paints and other paints never intended for artistic use - have been widely used and are found in works by many modern artists including David Hockney, Gary Hume, Roy Lichtenstein, Pablo Picasso, Jackson Pollock, Bridget Riley, Frank Stella and Andy Warhol. Although there is no evidence that the main types of modern paints are any less stable than oil paint, they are likely to require different kinds of conservation treatment, and these all need to be properly tested and researched.
 A selection of modern paints. Photo: David Lambert © Tate 2004 |
 Acrylic paint samples ready for cleaning tests. Photo: Tom Learner © Tate 2004 |
 Detail of a cleaning tests. Photo: Tom Learner © Tate 2004 |
Tate Conservation has long recognised the need to address the conservation issues posed by these paints. Since 2002 Tate's research into this area has been carried out in collaboration with the Getty Conservation Institute in Los Angeles and the National Gallery of Art in Washington D.C., which has brought extensive scientific expertise and equipment to the project. More recently, this group has expanded to include the University of Torino (polymer chemistry department). This collaboration research venture has three main aims (for more details click here):
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Improving methods of analysis
Analysis is a fundamental requirement for the conservation of any type of artwork and there is a need to develop reliable methods of analysis to identify all the pigments, binders and additives that might be found in modern paints. Such analysis will assist in materials and techniques studies, authentication issues, and investigations into the effects of ageing and conservation treatments.
- Understanding the physical properties of
modern paints
All paints respond to fluctuations in temperature and humidity, becoming softer and sometimes tacky at higher temperatures and more brittle when they get cold. It is important to know when such changes in a paint's physical properties might occur in order to ensure the best environmental conditions for works of art.
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Assessing the effects of cleaning acrylic emulsion paints
Cleaning (usually meaning the removal of surface dirt) is routinely carried out by conservators on most works of art. It is important to assess whether there are any long-term implications for such treatments, to assist conservators in choosing the most appropriate cleaning methods. Acrylic emulsion paints were chosen for this study as they are the most commonly used synthetic paint by modern artists.
Completed Projects at Tate
- The Cleaning of Acrylic Paints (2003-6) - a three year project funded by the Leverhulme Trust. Principal researcher: Bronwyn Ormsby
- Analysis of Organic Pigments (2003-4) - an eighteen month project funded by the Deborah Loeb Brice Foundation. Principal researcher: Julia Jonsson
Ongoing Projects
- The Mechanical Properties of Paints used by Modern Artists (2005-8) - a three year PhD study (registered at Imperial College), funded by the Deborah Loeb Brice Foundation. Principal researcher: Eric Hagan
- Evaluating the Effects of Cleaning Acrylic Paintings - The Tate AXA Art Modern Paints project (2006-9) - a three year project funded by AXA Art Insurance. Principal researcher: Bronwyn Ormsby, working in collaboration with Patricia Smithen
Outputs
Modern Paints Uncovered (MPU) symposium
Tate Modern hosted this international symposium in May 2006, attended
by over 250 conservators, conservation scientists and paint manufacturers
from over thirty-five countries. Presentations varied widely, from
recent advances in analytical techniques and protocols, to experimentation
with novel practical treatments. A number of presentations focused
on research into the effects of cleaning acrylic emulsion paints.
A dedicated poster session was held on the final day. Papers from
the symposium are currently being edited, and will be published
as Proceedings in 2007. Click
here for further details.
Publications
Jo Crook and Tom Learner, The Impact of Modern Paints, London 2000.
Tom Learner, Analysis of Modern Paints, Los Angeles 2004.
Modern Paint Podcast
Tate conservators and conservation scientists lead you on a tour around the paint surfaces of 10 key works currently on display at Tate Modern in the Modern Paint Podcast. The types of paints used, the ways in which they were applied, the surfaces and effects that were created and some of the changes that have occurred with time are all discussed.
Further reading:
Elizabeth Jablonski et al, 'Conservation Concerns for Acrylic Emulsion Paints: A Literature Review', Tate Papers 2004
Project team:
Bronwyn Ormsby, Senior Conservation Scientist
Eric Hagan, Conservation Scientist
Patricia Smithen, Lead Conservator, Paintings Conservation
Tom Learner, Head of Contemporary Art Research, Getty Conservation Institute
Supported by The Leverhulme Trust, The Deborah Loeb Brice Foundation and AXA Art Insurance.
Updated November 2006
