Wandmalerei: Unterschied zwischen den Versionen

Aus Salzwiki
Zur Navigation springen Zur Suche springen
Keine Bearbeitungszusammenfassung
(Eine dazwischenliegende Version desselben Benutzers wird nicht angezeigt)
Zeile 1: Zeile 1:
Autoren: [[user:ASawdy|Alison Sawdy]]
Autoren: [[user:ASawdy|Alison Sawdy]]
<br><br>
<br><br>
Zeile 8: Zeile 7:
The term ‘wall painting’ covers a great diversity of objects, and is not limited to those on vertical surfaces, but includes paintings executed on walls, ceilings, and other architectural forms. The key feature of a wall painting is that the structure in which it is housed forms an integral component of the painting itself. This support structure can take many different forms, from built structures to excavated rock cut or subterranean structures, and entirely natural formations—as in the case of cave paintings.
The term ‘wall painting’ covers a great diversity of objects, and is not limited to those on vertical surfaces, but includes paintings executed on walls, ceilings, and other architectural forms. The key feature of a wall painting is that the structure in which it is housed forms an integral component of the painting itself. This support structure can take many different forms, from built structures to excavated rock cut or subterranean structures, and entirely natural formations—as in the case of cave paintings.


== Einleitung ==
== Introduction ==
Wall paintings, from prehistory to the present day, comprise a major part of our cultural heritage. One of the most common deterioration problems affecting wall paintings is salt damage, caused by interactions between soluble salts, the environment and the material properties of the object. The susceptibility of wall paintings to salt weathering is due to the fact that, to a greater or lesser extent, they are porous. This characteristic allows moisture exchange with their surroundings, and consequently they are prone to contamination by soluble salts. Moreover, wall paintings are particularly vulnerable to salt damage because the paintlayers are located at the interface between the external environment and the microclimate within the wall. Consequently, the painting and its immediate support form the primary site for evaporation and salt accumulation. Owing to the ubiquitous presence of salts worldwide, this type of damage is one of the most widespread and commonly encountered in wall paintings conservation. Unfortunately, it is also one of the most pernicious and intractable.
Wall paintings, from prehistory to the present day, comprise a major part of our cultural heritage. One of the most common deterioration problems affecting wall paintings is salt damage, caused by interactions between soluble salts, the environment and the material properties of the object. The susceptibility of wall paintings to salt weathering is due to the fact that, to a greater or lesser extent, they are porous. This characteristic allows moisture exchange with their surroundings, and consequently they are prone to contamination by soluble salts. Moreover, wall paintings are particularly vulnerable to salt damage because the paintlayers are located at the interface between the external environment and the microclimate within the wall. Consequently, the painting and its immediate support form the primary site for evaporation and salt accumulation. Owing to the ubiquitous presence of salts worldwide, this type of damage is one of the most widespread and commonly encountered in wall paintings conservation. Unfortunately, it is also one of the most pernicious and intractable.
In addition to porosity, these objects are united by the fact that they are irremovable and require conservation in situ. This has important implications for the amelioration of salt deterioration problems. A methodological approach is required which fully takes into account not only their complex structure and material composition, but also the environmental conditions to which they are exposed. In the case of artworks located within
In addition to porosity, these objects are united by the fact that they are irremovable and require conservation in situ. This has important implications for the amelioration of salt deterioration problems. A methodological approach is required which fully takes into account not only their complex structure and material composition, but also the environmental conditions to which they are exposed. In the case of artworks located within
historic buildings this demands that a balance is sought between the needs of the object, and the building users.
historic buildings this demands that a balance is sought between the needs of the object, and the building users.


== [[Schadensbilder an Wandmalereien]] ==
== [[Schadensbilder an Wandmalereien|Deterioration Patterns of Wall paintings]] ==
In general, the type of damage caused by solule salts to wall paintings is related to the location of their crystallisation. The nature of the damage varies widely—but can be broadly divided into two main categories: efflorescence (salt crystallisation at the surface) and subfluorescence (salt crystallisation beneath the surface of the object).   
In general, the type of damage caused by solule salts to wall paintings is related to the location of their crystallisation. The nature of the damage varies widely—but can be broadly divided into two main categories: efflorescence (salt crystallisation at the surface) and subfluorescence (salt crystallisation beneath the surface of the object).   
Although visually alarming, efflorescences are generally regarded as less harmful than subflorescences, which cause the disruption and loss of the object's surface. In the case of a wall painting, the surface of the wall is the object, and the consequences of subflorescence are extreme.  
Although visually alarming, efflorescences are generally regarded as less harmful than subflorescences, which cause the disruption and loss of the object's surface. In the case of a wall painting, the surface of the wall is the object, and the consequences of subflorescence are extreme.  
In addition, soluble salts also contribute indirectly to decay processes by increasing the object's moisture content, promoting the alteration of water-sensitive materials.
In addition, soluble salts also contribute indirectly to decay processes by increasing the object's moisture content, promoting the alteration of water-sensitive materials.


== Literatur ==
== Literature ==


<bibprint filter="year:1981, volume:61, author:%Arnold%"/>  
<bibprint filter="year:1981, volume:61, author:%Arnold%"/>  
Zeile 34: Zeile 33:
<bibprint filter="year:2000, volume:39, author:%Charola%"/>  
<bibprint filter="year:2000, volume:39, author:%Charola%"/>  


English Heritage 1996. Wall Painting Record: Condition Audit, unpublished database of wall paintings in English Heritage properties undertaken by the Wall Paintings Section of
<bibprint filter="year:1996, author:%English%"/>
English Heritage.


<bibprint filter="year:1995, author:%Heritage%"/>  
<bibprint filter="year:1995, author:%Heritage%"/>  

Version vom 2. Dezember 2013, 10:41 Uhr

Autoren: Alison Sawdy

zurück zu Schadensbilder


Abstract[Bearbeiten]

The term ‘wall painting’ covers a great diversity of objects, and is not limited to those on vertical surfaces, but includes paintings executed on walls, ceilings, and other architectural forms. The key feature of a wall painting is that the structure in which it is housed forms an integral component of the painting itself. This support structure can take many different forms, from built structures to excavated rock cut or subterranean structures, and entirely natural formations—as in the case of cave paintings.

Introduction[Bearbeiten]

Wall paintings, from prehistory to the present day, comprise a major part of our cultural heritage. One of the most common deterioration problems affecting wall paintings is salt damage, caused by interactions between soluble salts, the environment and the material properties of the object. The susceptibility of wall paintings to salt weathering is due to the fact that, to a greater or lesser extent, they are porous. This characteristic allows moisture exchange with their surroundings, and consequently they are prone to contamination by soluble salts. Moreover, wall paintings are particularly vulnerable to salt damage because the paintlayers are located at the interface between the external environment and the microclimate within the wall. Consequently, the painting and its immediate support form the primary site for evaporation and salt accumulation. Owing to the ubiquitous presence of salts worldwide, this type of damage is one of the most widespread and commonly encountered in wall paintings conservation. Unfortunately, it is also one of the most pernicious and intractable. In addition to porosity, these objects are united by the fact that they are irremovable and require conservation in situ. This has important implications for the amelioration of salt deterioration problems. A methodological approach is required which fully takes into account not only their complex structure and material composition, but also the environmental conditions to which they are exposed. In the case of artworks located within historic buildings this demands that a balance is sought between the needs of the object, and the building users.

Deterioration Patterns of Wall paintings[Bearbeiten]

In general, the type of damage caused by solule salts to wall paintings is related to the location of their crystallisation. The nature of the damage varies widely—but can be broadly divided into two main categories: efflorescence (salt crystallisation at the surface) and subfluorescence (salt crystallisation beneath the surface of the object). Although visually alarming, efflorescences are generally regarded as less harmful than subflorescences, which cause the disruption and loss of the object's surface. In the case of a wall painting, the surface of the wall is the object, and the consequences of subflorescence are extreme. In addition, soluble salts also contribute indirectly to decay processes by increasing the object's moisture content, promoting the alteration of water-sensitive materials.

Literature[Bearbeiten]

[Arnold:1981]Arnold, Andreas (1981): Salzmineralien in Mauerwerken. In: Schweizer Mineralogische und Petrographische Mitteilungen, 61 (1), 147-166Link zu Google Scholar
[Arnold.etal:1985]Arnold, Andreas; Küng, Andreas (1985): Crystallisation and Habits of Salt Effloreszences on Walls.Part 1: Methods of investigation and Habits. In: Felix, G.; Furlan, V. (Hrsg.): 5th International Congress on the Deterioration and Conservation of Stone, Lousanne, 25-27. September 1985, Presses Polytechniques Romande, 255-267.Link zu Google Scholar
[Arnold .etal:1985a]Arnold, A.,; Küng, A. (1985): Crystallisation and habits of salt efflorescences on walls. Part II: Conditions of salt crystallisation,. In: Felix, G.; Furlan, V. (Hrsg.): 5th International Congress on the Deterioration and Conservation of Stone, Lousanne, 25-27. September 1985,Presses Polytechniques Romande, 269-277.Link zu Google Scholar
[Arnold.etal:1991]Arnold, Andreas; Zehnder, Konrad (1991): Monitoring Wall Paintings Affected by soluble Salts. In: Cather, Sharon (Hrsg.): The Conservation of Wall Paintings: Proceedings of a symposium organized by the Coutrauld Institut of Art and the Getty Conservation Institute, London, July 13-16, The Getty Conservation Institute, 103-136, Webadresse.Link zu Google Scholar
[BlaeuerBoehm:1990]Bläuer Böhm, C. (1990): Salze und Salzkrusten. In:: Wandmalerei-Schäden. Arbeitshefte zur Denkmalpflege in Niedersachsen, , 110-114.Link zu Google Scholar
[Blaeuer-Boehm:1994]Bläuer-Böhm, Christine (1994): Salzuntersuchungen an Baudenkmälern. In: Zeitschrift für Kunsttechnologie und Konservierung, 8 (1), 86-103Link zu Google Scholar
[BlaeuerBoehm:1994]Bläuer Böhm, C. (1994): Salzuntersuchungen au Baudenkmälern. In: Zeitschrift für Kunsttechologie und Konservierung, 8 (1), 86-103Link zu Google Scholar
[Charola:2000]Charola, A. E. (2000): Salts in the deterioration of porous materials: An overview. In: Journal of the American Institute of Conservation, 39 (3), 327-343, https://doi.org/10.1179/019713600806113176Link zu Google Scholar
[EnglishHeritage:1996]English Heritage (1996): Wall Painting Record: Condition Audit, unpublished database of wall paintings in English Heritage properties undertaken by the Wall Paintings Section of English Heritage..Link zu Google Scholar
[Heritage:1995]Heritage, A. (1995): Imaging Dynamic Processes in Conservation; Time-lapse Video Microscopy and On-line Data Annotation, Mastersthesis, Conservation of Wall Painting Department, Courtauld Institute of Art, University of London., LondonLink zu Google Scholar
[Heritage :1999]Heritage, A. (1999): Imaging dynamic processes in conservation: on-line data acquisition and direct image annotation. In:: Art 99: 6th International Conference on Non-destructive Testing and Microanalysis for the Diagnostics and Conservation of the Cultural and Environmental Heritage . Rome, 17-20.Link zu Google Scholar
[Jeannette:1997]Jeannette, D. (1997): Structures de porosité, mécanismes de transfert des solutions et principales altérations des roches des monuments.. In: Lefèvre, R.A. (Hrsg.): La pietra dei monumenti in ambiente fisico e culturale. Atti del 2° Corso Intensivo Europeo tenuto a Ravello e a Firenze dal 10 al 24 aprile 1994, 49-77.Link zu Google Scholar
[Larsen.etal:1999]Larsen, Poul K.; Bøllingtoft, Peter (1999): Desalination of a painted brick vault in Kirkerup Church. In:: Preprints, 12th Triennial Meeting, ICOM Committee for Conservation, 29 August - 3 September,ICOM 473-477, Webadresse.Link zu Google Scholar
[Larsen:2000a]Larsen, Poul Klenz (2000): Salt damage to the medieval plaster on a vault in Fanefjord Church. In: Bartos, P.; Groot, C.; Hughes, J. J. (Hrsg.): Proceedings of the International RILEM Workshop: Historic Mortars : Characteristics and Tests,RILEM Publications, Cachan 43-50.Link zu Google Scholar
[Laue:1997]Laue, Steffen (1997): Einfluß des Porenraums und des Raumklimas auf die Verwitterung von Steinen durch lösliche Salze. Dissertation, Universität MainzLink zu Google Scholar
[Laue.etal:1996]Laue, Steffen ; Bläuer-Boehm, Christine; Jeannette, Daniel (1996): Salt weathering and porosity: examples from the Crypt of St. Maria im Kapitol, Cologne. In: Riederer, Josef (Hrsg.): Proceedings of the 8th International Congress on Deterioration and Conservation of Stone,Möller Druck 513-522.Link zu Google Scholar

[Keine Einträge gefunden]

[Matteini:1991]Matteini, Mauro (1991): In Review: An Assessmant of Florentine Methods of Wall Painting Conservation Based on the Use of Mineral Treatments. In: Cather, Sharon (Hrsg.): The Conservation of Wall Paintings: Proceedings of a symposium organized by the Coutrauld Institut of Art and the Getty Conservation Institute, London, July 13-16, 1987, The Getty Conservation Institute, 137-148.Link zu Google Scholar
[Padfield:1998]Padfield, T. (1998): The Role of Absorbent Building Materials in Moderating Changes of Relative Humidity. PhD thesis, Technical University of DenmarkLink zu Google Scholar
[Padfield.etal:1994]Padfield, T.; Bollingtoft, P.; Eshoj, B.; Christensen, M. (1994): The wall paintings of Gundsømagle Church, Denmark. In: Roy, A.; Smith, P. (Hrsg.): Preventive conservation: practice, theory and research. Preprints of the contribution to the IIC Ottawa Congress, 12-16 September 1994, London, 94-98.Link zu Google Scholar
[Park:1986]Park, D. (1986): Cistercian wall painting and panel painting. In: Norton, C. ; Park, D. (Hrsg.): Cistercian Art and Architecture in the British Isles, Cambridge University Press, 181-210.Link zu Google Scholar
[Pique.etal:1992]Piqué, F.; Dei, L.; Ferroni, E. (1992): Physicochemical aspects of the deliquescence of calcium nitrate and its implications for wall painting conservation. In: Studies in Conservation, 37 (4), 217-227Link zu Google Scholar
[Kontozova-Deutsch.etal:2011]Kontozova-Deutsch, Velichka ; Cardell, Carolina ; Urosevic, Maja ; Ruiz-Agudo,Encarnación  ; Deutsch, Felix ; Van Grieken, René (2011): Characterization of indoor and outdoor atmospheric pollutants impacting architectural monuments: the case of San Jerónimo Monastery (Granada, Spain). In: Environmental Earth Sciences, 63 (7), 1433--1445, https://doi.org/10.1007/s12665-010-0657-5Link zu Google Scholar
[Luque.etal:2011] Luque, A.; Ruiz-Agudo, E.; Cultrone, G.; Sebastián, E.; Siegesmund, S. (2011): Direct observation of microcrack development in marble caused by thermal weathering. In: Environmental Earth Sciences, 62 (7), 1375-1386, WebadresseLink zu Google Scholar
[Ruiz-Agudo.etal:2011]Ruiz-Agudo, E.; Lubelli, B.; Sawdy, A; van Hees, R.; Price, C.; Rodriguez-Navarro, C. (2011): An integrated methodology for salt damage assessment and remediation: the case of San Jernimo Monastery (Granada, Spain). In: Environmental Earth Sciences, 63 (7), 1475-1486, WebadresseLink zu Google Scholar
[Ruiz-Agudo.etal:2011a]Ruiz-Agudo, E. ; Urosevic, M. ; Putnis, C. V.; Rodríguez-Navarro, C. ; Cardell, C. ; Putnis, A. (2011): Ion-specific effects on the kinetics of mineral dissolution. In: Chemical Geology, 281 (3), 364-371, WebadresseLink zu Google Scholar
[Ruiz-Agudo.etal:2011b]Ruiz-Agudo, E.; Putnis, C. V.; Rodriguez-Navarro, C.; Putnis, A. (2011): Effect of pH on calcite growth at constant a Ca 2 + / a CO 3 2 - ratio and supersaturation. In: Geochimica Et Cosmochimica Acta, 75 (1), 284-296, WebadresseLink zu Google Scholar
[Ruiz-Agudo.etal:2011c]Ruiz-Agudo, E. ; Putnis, C. V.; Wang, L. ; Putnis, A. (2011): Specific effects of background electrolytes on the kinetics of step propagation during calcite growth. In: Geochimica Et Cosmochimica Acta, 75 (13), 3803-3814, WebadresseLink zu Google Scholar
[Sawdy.etal:2010]Sawdy, A.; Lubelli, B.; Voronina, V.; Pel, L. (2010): Optimizing the extraction of soluble salts from porous materials by poultices. In: Studies in Conservation, 55 (1), 26-40, WebadresseLink zu Google Scholar
[Sawdy.etal:2008]Sawdy, A.; Heritage, A.; Pel, L. (2008): A review of salt transport in porous media, assessment methods and salt reduction treatments. In: Ottosen, L. M.; Rörig-Dalgaard, I.; Larsen, P.; Brajer, I.; Bøllingtoft, P.; Marciniak, M.; Svane, M. (Hrsg.): Salt Weathering on Buildings and Stone Sculptures, Proceedings from the International Conference 22–24 October 2008, National Museum Copenhagen, Denmark,Technical University of Denmark, Lyngby 1-28, Webadresse.Link zu Google Scholar
[Sawdy.etal:2007]Sawdy, A.; Heritage, A. (2007): Evaluating the influence of mixture composition on the kinetics of salt damage in wall paintings using time lapse video imaging with direct data annotation. In: Environmental Geology, 52 (2), 303-315, WebadresseLink zu Google Scholar
[Sawdy.etal:2006]Sawdy, A.; Heritage, A. (2006): Desalination-rubbing salt into the wound?. In:: In and Out, Projekt aus Forschung und Lehre Institut für Restaurierungs- und Konservierungswissenschaft Köln, Festschrift zum 20jährigen bestehendes Institutes Köln 2006, Archives of Disease in Childhood, 41-45, Webadresse.Link zu Google Scholar
[Sawdy.etal:2006a]Sawdy, A.; Price, C. (2006): The kinetics of salt weathering of porous materials. In: Simon, S.; M. Drdácký , M. (Hrsg.): SALTeXPERT: European Research on Cultural Heritage, state of the art studies, volume 5, Proceedings of the ARCCHIP workshops supported from the EC 5th FP project no. ICA1-CT-2000-70013, 225-237.Link zu Google Scholar
[Sawdy.etal:2005b]Sawdy, A.; Price, C. (2005): Salt damage at Cleeve Abbey, England. Part II: seasonal variability of salt distribution and implications for sampling strategies. In: Journal of Cultural Heritage, 6 (4), 361-367, WebadresseLink zu Google Scholar
[Sawdy.etal:2005a]Sawdy, A.; Price, C. (2005): Salt damage at Cleeve Abbey, England. Part I: A comparison of theoretical predictions and practical observations. In: Journal of Cultural Heritage, 6 (2), 125-135, WebadresseLink zu Google Scholar
[Sawdy:2003]Sawdy, A. (2003): The role of environmental control for reducing the rate of salt damage in wall paintings. In: Gowing, R. ; A. Heritage, A. (Hrsg.): Conserving the Painted Past: Developing Approaches to Wall Painting Conservation. Post-prints of a conference organised by English Heritage, London, 2-4 December 1999,James & James and English Heritage, London 95-109.Link zu Google Scholar
[Sawdy:1994]Sawdy, A. (1994): The Deterioration of the Romanesque Wall Paintings at Hardham Church: A Study of the Influence of Salts and Organic Coatings, postgraduate diploma dissertation, Conservation of Wall Painting Department, Courtauld Institute of Art, University of London, LondonLink zu Google Scholar
[Sawdy:1995]Sawdy, A. (1995): The Kinetics of Crystallisation and Deliquescence of Some Soluble Salts Found in Wall Paintings, MSc Thesis, Conservation of Wall Painting Department, Courtauld Institute of Art, University of LondonLink zu Google Scholar
[Sawdy.etal:1997]Sawdy, A.; Heritage, A.,; Cather, S. (1997): St Botolph’s Church, Hardham West Sussex, Conservation of the Wall Paintings Phase I: Investigations, Recording, Treatment Testing and Assessment. Unpublished report, Courtauld Institute of Art, University of London.Link zu Google Scholar
[Weber:1993c]Weber, J. (1993): Salt Induced Deterioration of the Romanesque Wall Paintings in the Church of St. Georgen, Styria, Austria: A case study aiming at a better understanding of the behaviour of salt systems in ancient walls. In: Biscontin, G. ; Graziano, L. (Hrsg.): Conservation of Architectural Surfaces: Stones and Wall Covering- il Cardo, Venic, , 97-103.Link zu Google Scholar
[Weber.etal:1996]Weber, J.; Leitner, H.; Gaggl, W.; Szambelan, R. (1996): Crystallization of sulphate salts induced by selective salt extraction by poultices: results from a case study. In: Zezza, F. (Hrsg.): Origin, Mechanisms and Effects of Salts on Degradation of Monuments in Marine and Continental Environments, Tecnomack, 167-179, Webadresse.Link zu Google Scholar
[Zehnder:1993]Zehnder, K. (1993): New aspects of decay caused by crystallization of gypsum. In: Thiel, M.-J. (Hrsg.): Proceedings of the International RILEM/UNESCO Congress on Conservation of Stone and Other Materials,London: E & F N Spon. 107-114.Link zu Google Scholar