Inside the Forger’s Oven: Identification of Drying Products in Oil Paints During and After Accelerated Drying with Increased Temperatures

2019 ◽  
pp. 437-450
Author(s):  
Diana Blumenroth ◽  
Stephanie Dietz ◽  
Wolfgang Müller ◽  
Stefan Zumbühl ◽  
Walter Caseri ◽  
...  
Keyword(s):  
Oil Paints

Utilization of Porcelain Tile Polishing Residue

2021 ◽  
Vol 410 ◽  
pp. 699-703
Author(s):  
Valeriya È. Shvarczkopf ◽  
Irina A. Pavlova ◽  
Elena P. Farafontova
Keyword(s):  
Glassy Phase ◽  
Raw Materials ◽  
Foam Glass ◽  
Mixture Preparation ◽  
Cleaning Equipment ◽  
Oil Paints ◽  
Roofing Materials ◽  
Sodium Feldspar ◽  
By Products ◽  
Porcelain Tile

The research focuses on the properties of by-products formed in the production of porcelain stoneware: polishing residue and residue of the mixture-preparation shop. The polishing residue consists of glassy phase (80%), quartz (14%), mullite (5%). Residue of the mixture-preparation shop consists of quartz (~ 18%), muscovite (~ 6.9%), kaolinite (~ 20.5%), calcium-sodium feldspar (~ 51.4%), diopside (~ 2.98%). Polishing residue occurs when polishing porcelain stoneware to create a glossy surface and when polishing the side faces of porcelain stoneware to obtain accurate tile geometry. The particle size of the polishing residue is less than 0.2 mm, and the residue of the mixture-preparation shop is less than 40 microns. Residue of the mixture-preparation shop is formed when cleaning equipment: mills, mixers, slipways, etc. The ways of utilization of by-product are follows: as a filler for the silicate production; for polymer-cement, water-dispersion and oil paints; as a filler for the production of roofing materials, bituminous roofing mastics based on organic binders; raw materials for the production of foam glass materials and products.

The Influence of Metal Stearates on the Water Sensitivity of Modern Oil Paints

2019 ◽  
pp. 451-463 ◽  
Author(s):  
Donatella Banti ◽  
Aviva Burnstock ◽  
Ilaria Bonaduce ◽  
Jacopo La Nasa ◽  
Judith Lee ◽  
...  
Keyword(s):  
Water Sensitivity ◽  
Oil Paints

Evaluating Cleaning Systems for Use on Water Sensitive Modern Oil Paints: A Comparative Study

2019 ◽  
pp. 11-35 ◽  
Author(s):  
B. Ormsby ◽  
J. Lee ◽  
I. Bonaduce ◽  
A. Lluveras-Tenorio
Keyword(s):  
Comparative Study ◽  
Oil Paints

Multivariate analysis studies of the ageing effect for artist's oil paints containing modern organic pigments

2014 ◽  
Vol 46 (10-11) ◽  
pp. 786-790 ◽  
Author(s):  
Naoko Sano ◽  
Peter J. Cumpson ◽  
Elke Cwiertnia ◽  
Justin J. Perry ◽  
Brian W. Singer
Keyword(s):  
Multivariate Analysis ◽  
Ageing Effect ◽  
Organic Pigments ◽  
Oil Paints

scholarly journals A little key to oxalate formation in oil paints: protective patina or chemical reactor?

2018 ◽  
Vol 17 (3) ◽  
pp. 266-270 ◽  
Author(s):  
V. Otero ◽  
M. Vilarigues ◽  
L. Carlyle ◽  
M. Cotte ◽  
W. De Nolf ◽  
...  
Keyword(s):  
Synchrotron Radiation ◽  
Calcium Oxalate ◽  
Degradation Mechanism ◽  
Chemical Reactor ◽  
Chrome Yellow ◽  
Oil Paints

A novel degradation mechanism for 19th c. chrome yellow oil paints is proposed based on the oil photodegradation induced and calcium oxalate formation. It was proved by synchrotron radiation using artificially aged pigment reconstructions.

scholarly journals Scientific investigation into the water sensitivity of twentieth century oil paints

2018 ◽  
Vol 138 ◽  
pp. 282-295 ◽  
Author(s):  
Judith Lee ◽  
Ilaria Bonaduce ◽  
Francesca Modugno ◽  
Jacopo La Nasa ◽  
Bronwyn Ormsby ◽  
...  
Keyword(s):  
Twentieth Century ◽  
Scientific Investigation ◽  
Water Sensitivity ◽  
Oil Paints

Drissi, Moulay Ahmed (1924–1973)

2018 ◽  
Author(s):  
Jean Holiday Powers
Keyword(s):  
Daily Life ◽  
Modern Art ◽  
Short Series ◽  
Used Oil ◽  
Oil Paints ◽  
First Time

Moulay Ahmed Drissi was a self-taught painter who used oil paints to depict stylized versions of daily life. Drissi was interested not in straightforward representations, but in showing his coherent worldview, using minimal details in his images of people and landscapes. In 1945 he met painters from Switzerland who encouraged his interests and, from 1948 to 1956, he traveled extensively throughout Europe. His first exhibition was in 1952 in Lausanne, and he exhibited for the first time in Morocco in 1957 in Marrakech. That same year, Drissi exhibited his work at the second Alexandria Biennale, and was part of the foundational early exhibitions of Moroccan modern art including the first Paris biennale (1959) and the "Deux milles ans d’art au Maro" (Galerie Charpentier, Paris, 1963) exhibition. In 1957, Drissi founded the short-lived gallery L’Oeil Noir. He was the focus of an early monograph (1960) in a short series of Moroccan painters organized by Gaston Diehl.

scholarly journals On the influence of relative humidity on the oxidation and hydrolysis of fresh and aged oil paints

2019 ◽  
Vol 9 (1) ◽  
Author(s):  
Francesca Modugno ◽  
Fabiana Di Gianvincenzo ◽  
Ilaria Degano ◽  
Inez Dorothé van der Werf ◽  
Ilaria Bonaduce ◽  
...  
Keyword(s):  
Relative Humidity ◽  
Oil Paints ◽  
Hydrolysis Of

scholarly journals Water Diffusion and Transport in Oil Paints as Studied by Unilateral NMR and 1 H High‐Resolution MAS‐NMR Spectroscopy

ChemPhysChem ◽  
2019 ◽  
Vol 21 (1) ◽  
pp. 113-119 ◽  
Author(s):  
Valeria Di Tullio ◽  
Nicholas Zumbulyadis ◽  
Silvia A. Centeno ◽  
Jaclyn Catalano ◽  
Molly Wagner ◽  
...  
Keyword(s):  
Nmr Spectroscopy ◽  
High Resolution ◽  
Water Diffusion ◽  
Mas Nmr ◽  
Unilateral Nmr ◽  
Oil Paints
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