Klenova Olga – Artist-restorer of the highest category, The State Russian Museum, Leading artist-restorer of the department of restoration of easel oil painting
E-mail: olgaklen@mail.ru

The article discusses the options for various uses of wax as part of a binding paint layer based on the scientific research of T.V. Khvostenko. The technology of creating encaustic works, the composition and qualitative characteristics of mixed wax compounds, from ancient to modern, depending on the goals and objectives of the artist, are investigated. The author analyzes the layer-by-layer structure of N.K. Kalmakov's painting "Woman with Snakes". The reasons for the development of internal chronic aging processes related to the composition of the layers are being clarified. Individual writing techniques of N.K. Kalmakov and ancient Fayum masters are compared. The previous experience of restoration of easel painting monuments based on scientific publications is given. Methods of consolidation the paint layer and removing surface dirt are described using examples of well-known works of art containing wax as part of the author's binder. The article provides examples of the author's achievement of an optical change in the surface of the paint layer by diluting the oil binder with wax to obtain the artistic effect of “radiance and glow of fabrics.” Based on the results of restoration work and laboratory studies of wax-containing easel paintings, the dependence of the intensity of microlesions on artistic materials on the presence of wax in the binder of the paint layer was demonstrated.

The use of wax in painting; encaustic technique; characteristics of wax compounds; Nikolai Kalmakov “Woman with Snakes”; consolidation of waxy paint layers; the effect of opalescence in painting; mycolesis of art materials; influence of mold metabolism on paint layers.

Morozova Ekaterina – the State Research Institute for Restoration, Research fellow in the Laboratory of Physical and Chemical Research
E-mail: morozovaea@gosniir.ru

Yurovetskaya Anastasia – the State Research Institute for Restoration, Research fellow in the Department of scientific conservation of easel oil painting
E-mail: ayurovetskaya@gmail.com

Iurovetskaia Elena –
the State Research Institute for Restoration, Conservator in the Department of scientific conservation of easel oil painting E-mail: yurovetskaya@gmail.com

Cleaning the original canvas from the adhesive composition is the main objective while retreating paintings consolidated using wax-resin adhesives. This publication discusses techniques for removing wax and wax-resin adhesives that have been developed and introduced into conservation practice over the past five years. All of them are based on the use of materials that are safe for artworks and conservators, and are also highly effective. Such materials are presented by systems in which the cleaning composition (solvent or mixture of solvents, aqueous solutions of surfactants, chelating agents, etc.) is enclosed in a “carrier” (for example, a gel). The article describes in detail enzymes (class of esterases), as well as micro- and nanoemulsions as new and promising cleaning compositions. Various classes of polymer gels take a role of “carriers” in some of the proposed methods. Thus, employees of the University of Warsaw presented a patent for the removal of wax-resin adhesives from the canvas structure using a nanocomposite organogel based on poly-N-isopropylacrylamide (pNIPA). Other work uses “twin-chain” polymer networks based on polyvinyl alcohol (TC-PNs-PVA), which were recently developed by Italian researchers. A non-woven microfiber material Evolon CR is also an effective “carrier”, the action of which is based on strong absorbent properties and capillary effect. The authors of the article describe the methods of working with these materials and talk about the successful experience of their use in the practical conservation of easel oil paintings in museum collections in Europe and America.

Beeswax, wax-resin adhesives, conservation technique, conservation of easel oil painting, re-treatment, cleaning fluids, gelling agent, gel carriers, enzymes, nanoemulsions.

Rusakova Nina – restorer of the highest category of easel oil painting, State Russian Museum, leading artist-restorer
E-mail: nina.rusakova@inbox.ru

The article describes the process of restoration of two paintings with the author's tempera technique modified as a result of repeated restoration impregnations with wax-resin mastics, in which the method of removing these mastics from the front and back sides of the paintings using silica gel Aerosil A-380, known from the cited literary sources, was successfully applied in practice . The author's base on the back side is thinned and leveled in a plane by alternately cutting off numerous layers of glue, resin and wax. The work was done in a “dry” way to avoid old adhesives getting into the paper structure. After completely clearing the back side, strengthening, gluing gaps, cuts and making up for all losses of the thin layer of cardboard, intermediate duplication was performed on a layer of Japanese paper. From the front side, the main layer of mastic was removed using a mixture of Aerosil A-380 and isopropyl alcohol. Subsequently, work with the wax-varnish coating was carried out with the composition isopropyl alcohol : pinene = 2 : 1. Interlayer recordings are softened with compresses and removed mechanically. The remaining thinner film is thinned with an emulsion of ethyl alcohol : pinene = 1 : 1. The mastic lying on the cuts and extending onto the author's painting is removed mechanically. The covering varnishes and strengthening compounds with which the tempera painting was impregnated were combined with the elements of the painting. It was decided to leave a thin layer of varnish, having first leveled it over the entire surface. The importance of the method of removing surface contaminants from a water-eroded paint layer without preventive sealing and subsequent strengthening of the paint layer and primer with low concentration adhesives is emphasized.

Restoration, tempera technique, wax-resin mastics, water-soluble paint layer, surface contamination, adhesives, Aerosil A-380.

Chalenko Tatyana – restorer of easel tempera painting of the second category, The State Research Institute for Restoration, head. department of scientific restoration of easel tempera painting
E-mail: tatyana.tarasovna@gmail.com

Piunova Polina – the State Research Institute for Restoration, restorer of the Department of scientific restoration of easel tempera painting
E-mail: piunova_polina@mail.ru

This article is devoted to current problems in the restoration of easel tempera painting related to the use of wax. Using the example of works restored at The State Research Institute for Restoration, information was collected on the techniques and methods of using wax in the renovation and restoration of icons, the problems that restorers had to face in their work were highlighted, and generalized conclusions were drawn about the advantages and disadvantages of certain techniques. The article discusses such techniques as: waxing the back of the icons, adding wax to the protective coating, replenishing the loss of soil and paint layer using inserts and mastications from different composite compositions with wax, conservation of the destruction of painting with wax resin impregnations and gluing painting on wax resin mastic. As examples of the use of wax, icons are demonstrated, which were restored by the department from the collection of the State Research Institute for Restoration Experimental fund, the Solovetsky State Historical, Architectural and Natural Museum-Reserve, the Novgorod State United Historical, Architectural and Art Museum-Reserve, the Rogozhsky Old Believer Community, the St. John the Baptist Monastery. In the department of scientific restoration of easel tempera painting of the State Research Institute for Restoration, an Experimental fund was formed, consisting of experimental samples and iconographic paintings that do not have museum status, on the basis of which it is planned to conduct comprehensive studies of the identified problems in the future, as well as perform practical experimental work with the revision of existing restoration techniques and the development of new materials.

Wax, wax resin mastic, waxing the back of the icons, scientific restoration, icon painting, easel tempera painting, Experimental fund.

Churakova Maria – the State Research Institute for Restoration, head of research area; Stroganov Russian State University of Design and Applied Arts, professor
E-mail: mtch1@yandex.ru

Yurovetskaya Anastasia – the State Research Institute for Restoration, research fellow
E-mail: ayurovetskaya@gmail.com

The article describes various reasons for the presence of natural beeswax in the structure of an easel painting. This can happen when wax is part of the author's painting technique and when it is a material introduced into the works during the conservation process. In the first case, natural beeswax can act as the main ingredient of a binding medium of the paint layer (encaustic) or be one of the miner components of the medium, helping to provide such properties as matte appearance and pastosity to the painting. The problems of restoration of such works and approaches to solving them are described. In particular, an unusual experience in the conservation of a still life by P. Konchalovsky, made with wax as a component of the binding medium of paint layer, is presented. Article describes the problems of state condition of the artwork, the physical and chemical investigations that were carried out and the technique for treatment of the painting, selected basing on the individual characteristics of the painting. The presence of wax in a painting as a restoration material (separately or as part of a wax-resin mastic) can be a significant obstacle to retreating the artworks. Based on practical knowledge and their own methods, the State Research Institute for Restoration employees in 2020 2021 carried out research to study and compare various techniques and materials used in Russian and foreign practice for extracting wax and wax-resin adhesives from textile supports of paintings. The research results are briefly presented in the article.

Beeswax, painting technique, conservation technique, easel oil painting, encaustic, binding media, conservation of easel oil painting, P. Konchalovsky.