Poly(vinyl acetate) paints in works of art: A photochemical approach. Part 1

Aging of a Poly(vinyl acetate)-Based White Glue and Its Durability in Contemporary Artworks

While extensive research has focused on understanding the degradation mechanisms of Poly(vinyl acetate) (PVAC) paint under different environmental conditions, limited attention has been paid to the long-term stability of PVAC-based white glues, especially when used in artworks. This study investigates the accelerated degradation, under simulated photoaging, and isothermal treatment of a commercial PVAC-based white glue considered representative of this class of materials used in contemporary artworks to predict its durability and assess its behavior in art objects. Through accelerated aging experiments and comparison with natural aging observed in artworks, the study reveals the formation of chromophores and the release of plasticizers as key processes; in particular, the progressive darkening was considered an early indicator of degradation processes, before structural changes could be detected by FTIR or NMR spectroscopies. The plasticizer loss induces an increase in glass transition temperature, from 7 °C to temperatures higher than room temperature, affecting the adhesive's cohesive strength and contributing to the detachment of materials in artworks. The findings underscore the importance of preventive conservation measures to mitigate degradation issues in PVAC-based artworks.

Poly(Vinyl Acetate) Paints: A Literature Review of Material Properties, Ageing Characteristics, and Conservation Challenges

Since their development in the 1950s, poly(vinyl acetate) [PVAc] paints (also known as vinyl) have been used by many artists, most notably in countries such as Spain, Portugal, and the United Kingdom; they are also used globally as a common binder for house paints. However, only a relatively limited number of heritage scientific studies have focused on vinyl paints. Consequently, many critical aspects of this material, such as the degradation processes, variations in paint formulations, and responses to conservation treatments, remain largely understudied. This article aims to summarise the available relevant information on poly(vinyl acetate) paints from both the scientific and the conservation practice perspectives. The article provides a brief overview of the development of poly(vinyl acetate) paints as artist-grade and household products and the known differences in their formulations. It also focuses on poly(vinyl acetate) ageing behaviour, the physicochemical properties, the recent scientific research on poly(vinyl acetate) material characterisation and degradation, and the main conservation issues regarding these paints, such as those relating to cleaning treatments.

Tracing Poly(Vinyl Acetate) Emulsions by Infrared and Raman Spectroscopies: Identification of Spectral Markers

Vinyl emulsions started to be used by artists in paintings at least since the early 1960s, being now present in several artworks worldwide. However, different vinyl formulations can result in distinct behaviours over time, and if some artworks are currently showing a good condition, others already show damages due to the use of compositions more susceptible to degradation. For this reason, it is fundamental to identify the main components in the vinyl acetate-based (VAc-based) emulsion. This work focuses on the molecular study of VAc-based emulsions by infrared and Raman spectroscopies. It aims at deepening the knowledge on the variability of the composite formulation and on the identification of characteristic bands and spectral profiles (identified as spectral markers) for both polymer and additives. To this end, a broad set of vinyl emulsions was gathered, including reference materials, historical commercial brands in use by Portuguese artists, and commercial brands collected from industrial companies. The entire set includes vinyl homopolymers produced for the purpose of the study and known formulations of vinyl homopolymers and copolymers, with and without plasticisers, according to technical data sheets and previous studies. Furthermore, unknown formulations have been included to validate the usefulness of the identified spectral markers. This set has been studied in the form of solid films deposited in glass slides by infrared spectroscopy in attenuated total reflection mode (ATR-FTIR) and micro-Raman spectroscopy (µ-Raman), both conducted in situ. As conclusions, the combined use of ATR-FTIR and µ-Raman proved to be very useful as different spectral markers were detected by each technique, confirming their complementarity. Besides the clear identification of vinyl acetate-based emulsions by both techniques, it was also possible to suggest spectral markers for the copolymerisation of vinyl acetate with vinyl versatate by µ-Raman, the stabilisation of the emulsion with poly(vinyl alcohol) by ATR-FTIR, and the addition of phthalates or benzoates plasticisers by both ATR-FTIR and µ-Raman.

Reversible-deactivation radical polymerization of vinyl acetate mediated by tralen, an organomediator

An organic compound, tralen, has been developed as a mediator to control the radical polymerization of vinyl acetate, methyl acrylate, and N-vinyl pyrrolidone via the reversible termination mechanism.

Characterization and Long-Term Stability of Historical PMMA: Impact of Additives and Acrylic Sheet Industrial Production Processes

This work aims at understanding the influence of the production processes and materials in the properties and long term behavior of acrylic sheet, i.e., poly(methyl methacrylate) (PMMA), a material generally considered very stable in museum collections. A comparative study was conducted in samples from cast acrylic sheets produced in the early 2000s, from which manufacturing details were known, and samples provided by the artist Lourdes Castro from acrylic sheets she had bought in the 1960s. Transparent and red opaque cast acrylic samples, containing cadmium red pigment, were used. All samples were artificially aged in a solarbox with irradiation λ > 300 nm for a total period of 8000 h, and alterations were followed by a multi-analytical approach which included Raman, infrared (FTIR-ATR) and UV-Vis spectroscopies; gravimetry; size exclusion chromatography (SEC); thermogravimetry (TGA); micro-indentation; colorimetry; and optical microscopy. Not all cast PMMA sheets presented similar stabilities. We have concluded that the production processes (which may include the polymerization conditions, the organic additives and the origin of the monomer) play a more important role in the properties and long-term behavior of these acrylic sheets than the presence of cadmium red and/or the age of the material.

Effect of pigment concentration on NMR relaxometry in acrylic paints

Acrylic emulsion paint is among the most common media employed by 20th century artists. Since early acrylic paintings have begun to require the attention of conservators, scientists are working to characterize the properties of these paints to facilitate conservation efforts. In this study, we report an investigation of the physical and chemical properties of acrylic emulsion paints using single-sided NMR in conjunction with gloss measurements and scanning electron microscopy-energy dispersive spectrometry. Combining the data from these techniques gives insight into pigment-base interactions and the acrylic curing process, showing that as pigment concentration is increased in paints, the amount of acrylic base adsorbed to pigment particles increases, resulting in films with differing relaxation times. This research both emphasizes and contextualizes the utility of NMR relaxometry in studying cultural heritage objects and prompts further study into the effects of pigment concentration on the curing and conservation of paint films.

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

A novel degradation mechanism for 19^th 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.

Enzymes involved in vinyl acetate decomposition by Pseudomonas fluorescens PCM 2123 strain

Esterases are widely used in food processing industry, but there is little information concerning enzymes involved in decompositions of esters contributing to pollution of environment. Vinyl acetate (an ester of vinyl alcohol and acetic acid) is a representative of volatile organic compounds (VOCs) in decomposition, of which hydrolyses and oxidoreductases are mainly involved. Their activities under periodically changing conditions of environment are essential for the removal of dangerous VOCs. Esterase and alcohol/aldehyde dehydrogenase activities were determined in crude cell extract from Pseudomonas fluorescens PMC 2123 after vinyl acetate induction. All examined enzymes exhibit their highest activity at 30–35 °C and pH 7.0–7.5. Esterase preferably hydrolyzed ester bonds with short fatty chains without plain differences for C₂ or C₄. Comparison of Km values for alcohol and aldehyde dehydrogenases for acetaldehyde suggested that this metabolite was preferentially oxidized than reduced. Activity of alcohol dehydrogenase reducing acetaldehyde to ethanol suggested that one mechanism of defense against the elevated concentration of toxic acetaldehyde could be its temporary reduction to ethanol. Esterase activity was inhibited by phenylmethanesulfonyl fluoride, while β-mercaptoethanol, dithiothreitol, and ethylenediaminetetraacetic acid had no inhibitor effect. From among metal ions, only Mg²⁺ and Fe²⁺ stimulated the cleavage of ester bond.

Photochemical degradation study of polyvinyl acetate paints used in artworks by Py-GC/MS

Photochemical degradation of commercial polyvinyl acetate (PVAc) homopolymer and PVAc paints mixed with burnt umber, cobalt blue, cadmium red dark, nickel azo yellow and titanium white commonly used for artworks were studied by pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) and Fourier transform infrared spectroscopy-attenuated total reflectance (FTIR-ATR). Py-GC/MS with single-shot technique was used for the characterization of the thermal degradation of PVAc at different temperatures, while the double-shot technique of Py-GC/MS was used to reveal the differences in the specimens before and after UV ageing, including the changes of detectable amounts of deacetylation product - acetic acid and plasticizers such as diethyl phthalate (DEP). Furthermore, the relative concentration of the pyrolysis products of the paint samples could be measured and compared in the second step of the double-shot Py-GC/MS, which are highly dependent on the presence of pigments and the ageing status of PVAc paints.

Study of behaviour on simulated daylight ageing of artists' acrylic and poly(vinyl acetate) paint films

This work proposes a multi-method approach that combines advanced microscopy (SEM/EDX, AFM) and spectroscopy (UV-vis and FTIR) techniques. This approach not only characterises the behaviour of the additives of two commercial poly(vinyl acetate) (PVAc) and acrylic emulsion paints but also simultaneously characterises the changes in chemical composition and morphology observed in the paint films as a result of ageing due to the paints being exposed to an intense source of simulated daylight. In parallel, a series of mechanical tests were performed that correlate the chemical changes in composition and the changes observed in the films' mechanical properties. This work was a comparative study between both types of acrylic and PVAc paints. The results obtained are of great interest for the modern paint conservation field as they provide valuable information on the mid- and long-term behaviours of these synthetic paints.