![[CoOL]](/icons/sm_cool.gif){kind=icon}
Subject: Questionnaire on filling materials
**** Moderator's comments: Please respond directly to the author. This questionnaire is a part of the research project developed by the Canvas Paintings Research Group at the Conservation Department of the Polytechnic University of Valencia (Spain). This is a research project developed by the Canvas Paintings Research Group at the Conservation Department of the Polytechnic University of Valencia (SPAIN). We would like to thank you your anticipated collaboration. Please answer with a 'X' as shown below. More than one answer is acceptable. Yes No X If you wish that your replies to remain anonymous, please indicate but it is useful to us that you at least include your country and the name of your institution or whether you work in a private studio. If you require additional space you can create this for specific replies to questions. You can send this questionnaire back to us by e-mail to encuestarestauracion<-a t->ono< . >com or to the postal address: Laura Fuster- Lopez Departamento de Conservacion y Restauracion de Bienes Culturales Universidad Politecnica de Valencia Camino de Vera s/n 46022 Valencia Spain 1. Are you in favour of filling missing parts on canvas paintings? Yes: Why? No : Why? 2. If Yes, how would you consider it? Convenient Necessary Unnecessary Other 3. In your opinion, we act: With rigour With a knowledge of the materials we use Systematically Other 4. In your opinion, how important is each phase of the aesthetic treatment of a painting in the final result of its conservation treatment? (100% = very important): Cleaning: Why? Filling: Why? Retouching: Why? Varnishing: Why? 5. Which are your criteria for intervention /reintegration? "Ne rien faire? (not filling the missing parts,and taking the original fabric as neutral tone for the losses) Archeological criteria? (filling slightly below the original surface) Filling level to the original paint and retouching with a neutral colour Filling level to the original paint and retouching with tratteggio, illusionism? Filling level to the original paint, replicating the original texture and retouching with a neutral colour Filling level to the original paint, replicating the original texture and retouching with a tratteggio, illusionism? Filling level to the original paint, replicating the original texture and retouching in a deceptive manner Other 6. Which in your opinion are the most important things to bear in mind when filling losses on a canvas painting? (value from 1 to 10 ) Technical characteristics of the canvas painting (artists' materials) Characteristics of the loss (size, depth, area ...) Environmental conditions in which the painting will be displayed Compatibility with materials used in a previous or later conservation treatments Not invading the original paint surface Adaptation to the canvas' dimensional movements Importance of the loss on the whole of the painting Existence of an important superficial texture  Easy preparation and handling of the filler Degree of degradation of the painting Others Why? 7. Do you think there are differences over the criteria and materials used by conservators when treating the missing parts of a traditional painting or of a modern one? Yes: Why? No: Why? 8. If yes, what do you think are the most important considerations in each case? 9. Which do you think are the drawbacks of fillers for canvas paintings. Attach a value from 1-10 Lack of adhesion to the fabric Lack of cohesion Long drying time Difficulties with applying a texture or later retouching Excessive absorbency/porosity Negative interaction with the original materials Non reversibility Potential cracking/failure of the filler with the canvas movements Poor stability, rapid degradation Contraction/ cracking after on drying Others Why? 10. Which fillers do you use? 10.1. Traditional Fillers (Which materials and in what proportions?) Hide glue + inert Wax (and resin) + inert Hide glue + oil + inert Oil filler Others 10.2. Synthetic Binding Media + Inert Filler elaborated by your own Thermoplastic resin (i.e. Beva 371 O.F.) + inert Acrylic resin (i.e. Paraloid B-72, Acyil 33, Plextol B500?) + inert Polyvinyl alcohol (Mowiol, Gelvatol?) + inert Polyvinyl acetate (Mowilith?) + inert Others 9.3 Commercial Ready Mixed Fillers Modostuc Blumestukko Stucco Zecchi Polyfilla (fine surface) Beva Gesso Others 11. Which inert do you use and why? Calcium carbonate Calcium sulphate Others 12. What are your criteria for selecting an inert material? (Value from 1 to 3) Availability (easily obtainable) Price Specific properties and behaviour Others 13. In your opinion, what aspects influence the mechanical behaviour of a canvas painting filler? (Value from 1 to 8) Environmental conditions Flexibility of the filling material Hardness/toughness Behaviour of the canvas Adhesion to the substrate Cohesion of the filler Composition and behaviour of the paint Composition and behaviour of the ground Others Why? 14. What fillers do you use for canvas paintings with coloured grounds? White Coloured Others Why? 15. If you use coloured fillers, which pigments do you use? Natural pigments Which ones and in what proportions? Synthetic pigments Which ones and in what proportions? Others Which ones and in what proportions? 16. For complete losses of the original fabric and painted layers, do you use inserts of fabric kind in order to prevent cracking of the fill? Yes No Why? 17. If yes, which kind of fabric insert do you use? Patterned Insert (one in which you insert a piece of a thinner fabric similar in shape to the loss, aligned with the weft and warp of the original fabric) Insert with Threads (one in which you only place threads parallel to the weft or the warp of the original fabric) Other 18. Which materials do you use? 18.1. Fabrics Natural Flax "Tarlatana" (Reticulated fabric, 100% cotton, starch processed) Others Which ones and where do you buy them? Synthetic Glass Fibre Polyester Others Which ones and where do you buy them? 18.2. Adhesives Natural Which ones and where do you buy them? Synthetic Which ones and where do you buy them? 19. Do you try to imitate the original texture of the pictorial surface on the fill (brushstrokes, cracks etc) ? Yes No Why? 20. If yes, how do you do it? 21. Do you use an intermediate layer between the filler and retouching in order to reduce the absorbency of the filler? Yes No What benefits do you think this intermediate layer have? 22. If Yes, which materials do you use? Ox Gall Varnish In what proportions? Shellac In what proportions? Wax and Resin In what proportions? Others Which one and in what proportions? 23. Has your attitude towards the methods, materials and criteria for filling changed over the years? Yes No Why? 24. In your professional activity, have you found paintings that have been treated in the past and have presented particular problems with old filling methods and materials? Yes No In your opinion, what were the deficiencies and what did you do? 25. Finally, do you think there is sufficient technical information on filling materials and those most suitable for use on canvas paintings? Thank you very much for your collaboration. The use of your personal information is totally confidential. If you do not wish to include your name could you please at least name the institution/ company in which you work/study, the country that you are working in and your professional qualifications. If you have any questions regarding this questionnaire please contact us at encuestarestauracion<-a t->ono< . >com Name: Institution / Company and Country: E-mail address: Professional Training: Laura Fuster-Lopez Departamento de Conservacion y Restauracion de Bienes Culturales Universidad Politecnica de Valencia Camino de Vera s/n 46022 Valencia- SPAIN *** Conservation DistList Instance 19:6 Distributed: Sunday, July 17, 2005 Message Id: cdl-19-6-030 ***Received on Friday, 15 July, 2005