| Résumé : |
Acrylic emulsion artists' paints were received with much fanfare and excitement in the 1950s and 1960s. They embodied the characteristics that many artists had been searching for at that time, affording a means of expression that was distinct from oi I painting and its associated history and traditions. As described it, 'there was an urge to loosen painting. [These colours] released new kinds of tactile qualities'. These synthetic paints produced films of great clarity and phenomenal elasticity, were easy to manipulate, could be painted directly onto supports, dried quickly, were thinned with water and exhibited high resistance to ultraviolet degradation. It was changed to acrylics for a number of reasons. They dry faster, which they do, and that they retain their original colour, which they do.The durability and light and the fact that one can use water instead of turpentine : all that makes it easier given the abstract image. As painting needed less and less drying time, depth, and so forth, the materials came along that made that more obvious. In spite of their outstanding mechanical and aging properties, acrylic emulsion paintings do suffer damage, often through external influences. Within the conservation profession, concerns were soon raised as some of these newly painted works began to require cleaning and repair. |
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Conservation concerns for acrylic emulsion paint coatings in PAINTINDIA, Vol. LXXII, N° 4 (04/2022)
