This course presents a survey of hydrogel and gel-like materials for the controlled aqueous treatment of sensitive cultural heritage surfaces. The course will cover the theoretical background and practical aspects of gel formulation and application. During the week prior to the course, participants will follow pre-recorded lectures on Zoom. This will allow participants more time to be spent in the laboratory for participants to gain experience in preparing, comparing and manipulating various gel materials.
The practical sessions will be directed toward the general use of gels in the conservation treatment of painted surfaces on various substrates and the course is appropriate for conservation professionals of any specialism and experience level.
Gel materials in the lecture and practical sessions will include:
- Agar and agarose hydrogels
- Low-acyl and high-acyl gellan hydrogels
- Poly(vinyl alcohol)-borax gels
- Nanorestore® Dry and Peggy chemical hydrogels
- Xanthan-Konjac/Agar double-network hydrogels and their analogues
- Curdlan hydrogels
Practical topics will include:
- Gel preparation methods
- Casting techniques, including direct casting
- Aqueous chemistry compatibility
- Solvent compatibility
- Additives and residue management
- Gel storage
- For wall paintings specialists, the tutor will include a section on spreadable gels using xanthan and Pemulen TR-2 as examples.
Participants may wish to attend (gratis) an optional day on Friday 17th April at the wall paintings conservation worksite at Blenheim Palace. This day organised by Blenheim Palace and Opus Conservation will consider and discuss with Matthew Cushman the problems of cleaning these wall paintings.
Matthew Cushman is Conservator in Charge at the Worcester Art Museum (Massachusetts, USA), leading the Museum’s team of conservators. He was previously Conservator of Paintings and Affiliated Assistant Professor at the Winterthur/University of Delaware Program in Art Conservation, where he taught fundamentals of painting conservation and the application of scientific principles in conservation practice. His research interests include novel materials for the cleaning of painted surfaces, structural treatment of easel paintings, and the techniques and materials of early American painting.
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