In cultural heritage, several initiatives are promoted to transfer the green chemistry in replacing traditional and toxic methods and products, and in ensuring safety of both artworks and restorers during cleaning operations. This study is aimed to establish the validity of new green solvents to replace toxic solvents, commonly used, to remove old paint varnishes. In particular, the research is focused on the use of acetals to remove old varnishes paintings. The acetals are common functional groups in natural products which are generated by reactions between alcohols and aldehydes. The tests were performed on four different resins (DAMAR, RETOUCHER, PVA and PMMA). Several samples were prepared to reproduce the common stratigraphy succession of the oil painting. The performances of the solvents were monitored by visible light/UV light, photography and optical microscopy, spectro-colorimetric analysis. Then, FTIR spectra of the cleaned surface have been acquired to detect the residues after cleaning.

In this study, the investigation of the oil painting on canvas I Tesori del Mare made by Plinio Nomellini in 1901 is presented. The aim of the research was threefold: the examination of the state of conservation in view of the restoration treatment, together with the identification of the causes of degradation and the study of the artistic technique. During the years, the artwork underwent several cleaning and fixing interventions, resulting in a patchy appearance of the surface. Nevertheless, the presence of consistent liftings persists, while the protective coating shows uneven chromatic alteration, both requiring further analysis. Multispectral imaging allowed for better visualization of the figuration’s structure and the restored areas. The combined use of Raman spectroscopy, Fourier Transform Infrared spectroscopy in the Attenuated Total Reflection mode (FT-IR ATR), and Scanning Electron Microscopy coupled with an Energy Dispersive Spectroscopy (SEM/EDS) enabled better understanding of the stratigraphy through the identification of some pigments, the binder, and the aged varnish layer on the top. SEM/EDS highlighted the presence of zinc in both the ground layer and the paint layers. Furthermore, FT-IR ATR spectroscopy showed peaks related to metal soaps such as zinc stearate, which are known to cause severe delamination of the paint layers, explaining the recurring lifting issues. Eventually, the varnish layer was found to be acrylic resin, presumably mixed with varnishes applied in past restoration treatments.

In spite of the application of different cleaning procedures, the marble used for the portrait bust of Queen Margherita di Savoia continued to show permanent discoloration, consisting of an unevenly distributed grayish alteration, mainly on the front part. In this work, a multi-analytical, non-invasive approach was proposed using spectrocolorimetry, reflectance spectroscopy and multispectral imaging. The initial assumption, suggesting the presence of altered protective materials based on organic products (such as waxes or oils,) applied in the past according to traditional practices, was excluded, revealing instead the presence of deposits of particulate matter, which penetrated inside the crystalline structure of the marble, leading to a variation in its shade. Cleaning tests were also carried out to define the best product, using sustainable chemicals such as Polar Varnish Rescue^®, alkoxyde surfactant, disodium EDTA, GLDA and Politect^® Base in order to identify the best methodology and materials for sustainable cleaning, respecting the integrity of the original matter. Politect^® Base demonstrated better action in comparison to the other products tested, and similar results were obtained with GLDA, which could be applied in areas where the Politect^® is less efficient (e.g., lace).

Urban art in Italy is experiencing a remarkable evolution that has quickly modified urban spaces, especially in suburban areas. More and more often, we are witnessing the birth of works of art that have been commissioned by festivals, or institutional projects next to spontaneous street artworks. These large projects, often defined as “urban renewal”, when carried out through a well-thought-out design, can become real open-air museums. The proliferation of these creative and legal projects has raised the question of whether street art should be preserved over time. The conservation, or even restoration, of urban art has recently become a controversial topic in scientific debate. In Italy, different associations of researchers are developing new methodologies for preserving street artworks; everyone agrees on the importance of the implementation of good conservation practices. The documentation of the existing condition of a work of art is the first step to start taking care of it. In this article we introduce SCIMA (Scheda Conservativa Informatizzata Mural Art), a digitizing conservation data report that is specific for mural art. The aim of SCIMA was to define the existing condition of the work of art, starting with the socio-cultural and artistic importance, to describe its environment, to define the materials used and its deterioration problems, to suggest conservative interventions. It was born as an analogical tool (sheet) but we are working on digitizing it (database) in order to maintain access to the data recorded for the future.