Urban art as a shared expression of street art between artists, citizenship and municipalities has always had an important role in the social life and appearance of modern cities. However, the durability of urban and street artworks is susceptible to the degradation processes that the employed commercial paint formulations undergo once outdoors. These are complex mixtures of compounds, differently sensitive to environmental agents according to their chemical nature. Starting from the colorimetric analysis of murals created in 2010, 2011 and 2018 in Reggio Emilia, Italy, documenting their degradation already after a few months, this study aimed at understanding the stability of the most unstable paints used by the artists in these artworks. A multi-analytical approach evaluated the commercial products under the chemical point of view, after natural and accelerated ageing. Additionally, two manufactured anti-UV varnishes were evaluated for their possible use as coatings. The results pinpointed the weaknesses of the selected paints and highlighted how the application of an anti-UV coating might slightly affect the visual aspect of the artwork, though ensuring a greater resistance to the outdoor conditions due to their minor chemical sensitivity to environmental agents.

This study starts from the need to remove a mix of proteins, oils and natural resin, called beverone in the Italian literature, from the back of canvas paintings. The aim of this study is to develop and evaluate the effectiveness of two different agarose/enzyme gels containing, respectively, a trypsin derived from porcine pancreas and a lipase from Candida rugosa, both in an aqueous solution of deoxycholic acid-triethanolamine soap. Enzymes were selected because of their action on peptide and ester bonds, effectiveness at maintaining a weak alkaline pH and low cost. Several series of model samples, resulting from a combination of rabbit skin glue, linseed oil and colophony, were prepared to test the enzyme gels with two different values for each of the following variables: agarose concentration, application modes and time of application. Measurements of weight loss after the gel application and Fourier transform infrared analysis were conducted to underline the hydrolysis occurring due to the enzyme gels and their effectiveness. Results confirmed what has been found in the literature and improved our knowledge about the action of agarose enzyme gels on complex substrates (hydrophilic/hydrophobic). The gels applied fluidly, with a longer contact time and a lower agarose concentration, are more effective. Furthermore, trypsin gels provided better results on substrates with oil and glue, while lipase gels turned out to be more effective on substrates made of a mix of oil, glue and colophony.

Recently, a notable change has occurred in how street art murals are perceived by art history and the general public, with a growing recognition of their social and cultural significance and a new focus on preserving the most representative modern urban murals for future generations. An interesting case study is constituted by the “UBUNTU” mural (Ivan Pontevia and Daniele Castagnetti, Reggio Emilia, 2018), whose appearance has radically changed in a few years. Indeed, the intense and direct exposure to sunlight as well as the environmental and polluting agents have induced the bleaching and fading of the original highly fluorescent hues. To investigate the degradation processes that are occurring, five micro-samples were collected from different fluorescent-coloured areas and analysed by a combined approach based on µ-Raman and Surface Enhanced Raman Spectroscopy (SERS), High Performance Liquid Chromatography coupled with Diode Array Detector and mass spectrometry (HPLC-DAD and HPLC-MS), and Pyrolysis Gas Chromatography coupled with Mass Spectrometry (Py-GC-MS). The analytical protocol applied allowed us to disclose the painting materials used by the artist and fully characterise the ageing phenomena occurring in the mural that are possibly responsible for its colour ephemerality.

This study focuses on assessing the indoor air quality in a storage room (SR) belonging to Museo Nazionale Scienza e Tecnologia Leonardo da Vinci in Milan (MUST), covering pollutants originating from outdoor sources and emissions from historical plastic objects made from cellulose acetate (CA), cellulose nitrate (CN), and urea–formaldehyde (UF) stored in metal cabinets. The concentrations of SO₂ (sulphur dioxide), NO₂ (nitrogen dioxide), NOx (nitrogen oxides), HONO (nitrous acid), HNO₃ (nitric acid), O₃ (ozone), NH₃ (ammonia), CH₃COOH (acetic acid), and HCOOH (formic acid) were determined. The concentrations of SO₂, O₃, and NOx measured inside the metal cabinets were consistently lower compared to the other sampling sites. This result was expected due to their reactivity and the lack of internal sources. The SR and metal cabinets showed similar concentrations of NO and NO₂, except for CA, where a high NO concentration was detected. The interaction between the CA surfaces and NO₂ altered the distribution of NO and NO₂, leading to a significant increase in NO. The presence of HNO₃ potentially led to the formation of ammonium nitrate, as confirmed by ER-FTIR measurements. High levels of HONO and HNO₃ in CN and NH₃ in the UF indicate object deterioration, while elevated concentrations of CH₃COOH in CA and HCOOH in the SR suggest specific degradation pathways for cellulose acetate and other organic materials, respectively. These results could direct conservators towards the most appropriate practical actions.