• Journal of Conservation Science
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• v.33 no.2
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• pp.85-95
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• 2017

Oil paints are mixtures of pigments, drying oils and additives. In the past, oil paints were mainly composed of inorganic pigments. However, recently color matching techniques vary depending on manufacturers due to the development of various kinds of synthetic pigments. Despite this, most studies of oil paints in South Korea are about durability tests, and there is no comparative study on the characteristics of commercial oil paint components. This study aims to compare the properties of four different kinds of oil paints from four manufacturers, which are the most popularity used. Extender pigments in oil paint from C brand differed from that of other manufacturers and various kinds of coloring pigments were differently used depending on the oil paints and the manufacturers. The mixing ratios and the pigment types differed even for oil paints having the same product name. It is assumed that these differences could affect the colors. The result of this study is expected to contribute to the analysis of artworks through the accumulation of scientific data of oil paints. In addition, it can be utilized as a scientific basis for art history studies, including the characteristics of artists or production year.

• Journal of Conservation Science
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• v.37 no.5
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• pp.426-439
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• 2021

In this study, we compare the properties and estimate the durability of five oil colors that are the most popularly used colors in the conservation of oil paintings. A set of these colors was obtained form four manufacturers each, and their properties were analyzed by conducting deterioration experiments. Subsequently, we observed the colors and performed X-ray fluorescence analysis. As a result of colour observation and XRF analysis, it was confirmed that there are the differences according to the pigment types, mixing rations and the manufacturers even for colors having the same product name. The deterioration test indicated differences in the appearance of the colors ; for instance, the color difference was above 12.0 in most of the samples, including restoration color and acrylic gouache. In the case of Lemon Yellow a lot of discoloration and cracking occurred, and difference in gloss was ob served in Viridian of manufacturer C. Most cracks were ob served in the restoration color obtained from manufacturer B and were assumed to be because of the resin used by the manufacturer. Nevertheless, additional research will have to be conducted by controlling variables in order to find out the cause. Through this study, we demonstrated that retouching materials for conservation of oil painting differed in their physical properties according to the color and manufacturer. Therefore a conservator should be mindful during the selection and use of materials for retouching oil paintings.

• Journal of Conservation Science
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• v.33 no.5
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• pp.371-380
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• 2017

To investigate the pigments used in modern and contemporary oil paintings, thirty-two paintings by Jiho Oh and Bonung Gu were selected. The white pigment found in the ground and painting layers was identified as lead white (hydrocerussite), zinc white (zinc oxide), titanium white (titanium dioxide in anatase or rutile forms), calcite (calcium carbonate), and barite (barium sulfate). Further, this indicated that pigments differ according to the artist and date of the painting's creation. However, both Oh and Gu used zinc white during the modern and contemporary period, while lead white was replaced by titanium white, barite and calcite. Compared with the overseas studies on pigments and oil paints, the change patterns of pigments were the same with them but the periods of the use were partially different. It seems to be due to the fact that South Korea is linked to the historical background of the art material which was imported from Japan instead of Western countries. Therefore, it is inevitable that any change in the white pigments used for domestic oil paintings occurred at a different time from global transitions. If the results of this study are used in the analysis of art works it is suggested that a database recording such aspects as material properties of oil paints, artistic techniques, and chronology would become important for future conservation science and the study of art history.