JPH02185500A - Support for picture - Google Patents

Abstract

PURPOSE:To keep the sharpness at the time of the work of a picture by suppressing the cracking or release and tearing of a picture and to easily repair a picture campus by providing a backing material composed of a metal foil or a metal foil having a surface coating layer to the rear of a base material for a picture. CONSTITUTION:When an electrolytic copper foil is taken as an example with respect to a metal foil, a copper material is used to prepare an electrolyte and copper is precipitated on a rotary cathode drum and the precipitated copper is peeled off to continuously prepare a copper foil. The copper foil is generally called a raw foil 3 and the surface of the copper foil 3 on the opposite side of the drum is one having a large number of recessed and protruding parts precipitated electrically and, next, this copper foil (raw foil) forms one-layer or multilayer surface coating foil. For instance, in the first stage 4, fine particles of copper or copper oxide are applied to the copper foil in order to increase the adhesive strength with a base material. In the second stage 5, a brass or zinc coating layer is formed in order to provide corrosion resistance. In the third stage 6, corrosionproof treatment is further applied. As the base material, a conventional campus material such as jute or cotton can be used.

Description

DETAILED DESCRIPTION OF THE INVENTION [Industrial Field of Application] The invention of this application relates to a support for painting used when painting oil paintings, Japanese paintings, etc.

[Prior art and the problem to be solved by the invention] When painting an oil painting, a linen canvas is usually stretched over a wooden frame.
is used. Some canvases are made of cotton, and there are no restrictions on painting on boards or stones, so you can often see paintings painted on plywood and exhibited at exhibitions.

However, in most cases, cloth canvas is used. This is thought to be due to the fact that cloth has a texture, which has the advantage of good absorption and adhesion of paint, as well as good placement of paint when writing.

Oil painting was introduced from the West during the Meiji period, and to put it simply, it can be said to be a method of hardening paint with resin.

To roughly illustrate the structure of an oil painting, from the bottom up, there are: - Base material made of linen cloth or board, - Filling layer made of glue or synthetic resin, - Base layer, - Paint layer for drawing, and screen protection. It consists of a fest layer.

As a painting fluid, oil plays a very important role in oil painting (oil painting), just as watercolors dissolve with water and Japanese paintings dissolve with glue.

Konoura can be roughly divided into three types: melting oil, which dissolves oil paint according to each technique, oil, which gives the painting its original luster, and oil, which preserves the painting.

Usually, commercially available oil paints themselves have already been refined to be easy to use.

The above is a brief introduction to oil painting.

On the other hand, in Japanese paintings, traditional paper was impregnated with pigment and was often preserved as a scroll, so the paint was generally not applied so thickly that it could not be rolled.

However, as the oil paintings mentioned above became popular.

Japanese paintings have also started to be framed, and the trend has changed to using thicker paint. In other words, people began applying a layer of ``glue'' on top of the paper to prevent the paint from seeping in, and then layering the paint thickly on top of it. For this reason, in parallel with the unique Japanese painting method, oil painting style Japanese paintings also emerged.

In this way, various techniques starting from oil painting and Japanese painting were developed, and many excellent paintings were created.
There is a very big problem with the created painting.

This is a damage that often appears on canvas paintings. This can occur due to incorrect handling or storage.

Many are caused by lacerations and holes, or cracks in the paintings, decay caused by mold or microorganisms.

Lining is performed to eliminate such damage, but
This is a very labor-intensive process, and in many cases it is not possible to perform a sufficient repair.

To give an example of repair, for example, a small tear can be repaired by partially pressing it and then joining threads together using an adhesive such as a synthetic resin. For large lacerations, use wax, resin, glue, etc. to line the wound with linen or other cloth. In some cases, the entire back is covered with one or more reinforcing fabrics.

In addition, if the base material such as canvas is completely damaged, remove the original canvas from the base coat using hot water or acid.

In some cases, they even had to perform the dangerous task of transferring to a new canvas.

However, even with such restoration work, the painting is only temporarily fixed, using materials that are almost the same as the original base material, or using wax, resin, or glue. This cannot be said to be an effective method for preventing collapse.

On the other hand, if we consider cracks in paintings, which are one of the causes of the collapse of paintings, we find that most paintings that are considered masterpieces have these cracks, and if these cracks progress, there is even a risk of them falling off in some cases. Particularly in Japan, which is extremely dry and humid, climate change has made them more brittle and more susceptible to damage.

As shown in the structure of an oil painting above, the materials used for each layer have different properties, especially the expansion/contraction rate due to changes in temperature and humidity and the adhesive strength between each layer, and the cracks that are unique to oil paintings are inherent in the painting. I can say that there is.

Even in Western Europe, where the climate is dry and stable, if you look closely at famous paintings from the past, you will see countless cracks. Many people cannot help but feel sorry for the fact that dust accumulates in the cracks, making it impossible to maintain the vivid quality of the painting at the time of production, and that the painting will not only deteriorate over the years, but also be lost due to flaking. I think that the.

Cracks in paintings like this can be caused by the paint or base coating, but they are often caused by changes in the dryness and humidity of the base material, such as canvas, or expansion and contraction due to temperature changes.

Cracks in paintings such as those described above can be seen not only in paintings that are painted thickly, but also in Japanese paintings that tend to resemble oil paintings.

Oil paintings also have the major drawback of mold formation.

The change in the painting's bluish tint is caused by the growth of mold.

This damages the surface layer of the varnish, gradually turning gray and losing the solidity of the resin.As it progresses further, it becomes powdery, and as this powder weathers, the paint layer becomes covered with yellow particles. , eventually turning black. Depending on the environment, this can progress over a period of months or years, and may even be irreversible.

Considering that linen is a material that easily absorbs moisture as a base material for canvas, etc.,
It can be said that the environment in which the painting is placed is extremely likely to cause Toru.

Bactericides are applied to prevent the growth of mold and microorganisms, or to repair damaged areas, but their effects do not last long, and the suppressive effect is limited over time. It just exists.

Despite the problems mentioned above, the reality is that high-quality paintings are even undergoing various restoration studies in order to preserve them.

In old paintings, metal plates, especially corrosion-resistant copper plates, were sometimes used as the base material.

This is mainly because after the Reformation, when Cadric's side sent out missionaries in search of missionary sites in the New World, they carried with them an oil painting of the image on a copper plate.

This is thought to be because it is lighter than a board, has less bulk, is far less susceptible to peeling or cracking than cloth, and is also resistant to some rain and heat.

However, since copper itself was expensive, it was impossible to obtain a flat surface, paint did not adhere well to it, and it could only be produced using very special techniques, so copper has hardly been seen since the 18th century and is still used today. It has been reached.

As described above, the destruction of paintings is greatly affected by the storage and handling of paintings, and there has been a long-awaited means to effectively prevent this.

[Means to solve the problem]

In order to solve the above problems of the support for paintings, the invention of this application is characterized in that the backing material of the base material for paintings is provided with a backing material of metal foil or a metal foil having a surface coating layer. and a support for paintings characterized in that the metal foil is copper foil, and the support for paintings characterized in that the base material is made of cloth, and the base material is linen cloth. The above painting support is characterized in that the painting support is a canvas, and the painting support is characterized in that the painting support is a wall painting support. It provides a support for

This prevents the painting from cracking, peeling, or tearing, and maintains the vividness of the painting at the time it was made.It also makes it easier to restore the already painted canvas, increasing its permanence and making it possible to maintain stable quality. It is something.

[Detailed description of the invention]

Metal foil does not absorb moisture and expands and contracts very little due to dryness and humidity changes. Therefore, by using metal foil such as copper foil as a backing material, it is possible to eliminate moisture, which is a problem with conventional base materials such as cloth. Absorption and expansion/contraction can be effectively suppressed.

It is desirable to apply the backing material to the entire back surface of the base material to reinforce it, but it is also possible to cut it into small pieces and repair only the damaged areas.

Copper foil in particular has a moderate bactericidal effect, so it has the effect of inhibiting the growth of mold and microorganisms.

Metal foils such as copper foils and metal foils coated with corrosion-resistant plating have extremely high corrosion resistance, so they protect canvases such as cloth from the back side, and are also excellent in strength, so they are suitable for painting. Extremely durable as a support.

If you want to keep the painting for a long time, it is desirable to affix the backing material of the present invention to the canvas or the like in advance, or to affix the backing material to the entire surface after the painting is finished.

The present invention encompasses all of the uses of the above-mentioned backing materials. , nickel or a nickel alloy, iron or an iron alloy, cobalt or a cobalt alloy, or an oxide of the above metal, or a composite of the above metal and the above oxide. be able to.

Metal foil such as copper has a thickness of about 1 μm to 3 mm (preferably 1 μm to 3 mm).
Electrolytic metal foil or rolled metal foil with a thickness of 0 μm to 0.5 mm is used.

The gold R foil of the present invention will be explained as follows, taking electrolytic copper foil as an example.

As shown in the conceptual diagram of the copper foil manufacturing process in Figure 1a, electrolytic copper foil is generally produced by using a copper raw material 1 as an electrolytic solution (copper sulfate aqueous solution) 2, depositing copper on a rotating cathode drum, and then peeling it off. Continuously manufacture copper foil. The copper foil obtained in this way is generally called main seedling 3, but the surface in contact with the drum is smooth and is called surface 8 (shining surface), and the opposite surface is shown in Figure 2. This surface has a large number of electrically deposited irregularities, and is called an M-plane (matte surface).

Next, this copper foil (main seedling) is coated with various single or multilayer surface coating layers in one or multiple stages (three stages in the figure) as shown in Figure 1. - By way of example, in the first step 4, fine particles of copper and/or copper oxide are applied to the copper foil in order to increase the adhesive strength with the substrate. In the second step 5, a coating layer of brass or zinc is formed to provide long-term corrosion resistance.

In the third step 6, an anti-rust treatment can be further applied to prevent oxidation of the copper foil or edge oxidation during cutting.

Figure 2a is a micrograph of the matte surface of the electrolytic copper foil (main seedling), and Figure 2a shows the result after fine particles of copper and/or copper oxide were electrically attached (IL plating) to the main seedling. , a copper foil with a brass coating layer (by electroplating). The numerous irregularities seen in the photograph significantly improve the adhesion to the base material. Of course, a similar coating layer can also be formed on the matte surface of the electrolytic copper foil.

Metal foil such as copper itself is effective as a backing material, but by forming the above-mentioned surface coating layer, the adhesion to the base material etc. is significantly improved, and the combination of the metal foil and the coating layer provides excellent corrosion resistance. It can be a surface-coated metal foil.

The above-mentioned copper foil base material can also be embossed to further increase the mechanical adhesive strength.

The copper foil backing material thus formed is cut to a predetermined size.

In addition to traditional canvas materials such as linen and cotton, veneer, wood boards, and paper can be used as the base material.

This choice is made according to the painter's preference, but the characteristic of using metal foil as a backing material is not lost.

Furthermore, the support for paintings covered with the metal foil backing material of the present invention can be easily cut with a cutter or the like.

It can be a canvas board, a pinup, or even a support for a mural. Also these.

Since it can be adhered to general buildings, it can be used as interior items such as interior and exterior items, doors, shelves, etc., and it also has the feature of being easy to replace and store.

When making a new canvas by pasting the copper foil or other metal foil of the present invention on a base material such as linen cloth, it has appropriate strength and elasticity, so it can be pasted with a backing material such as cloth and placed in a wooden frame. You can feel the pleasant elasticity that you feel when you apply tension to the canvas and apply the paintbrush to it.

Restoration is often carried out on old paintings.

Of course, the metal foil backing material of the present invention can also be used as a part or all of such a repair backing material. The picture support of the present invention contains all such backed base materials.

Further, the metal foil such as the electrolytic copper foil of the present invention is copper or iron.

aluminum, silver, tin, zinc, titanium, gold, nickel,
metals such as and not only these metals but also Ag, Sn, I
n, Fe, Ni, Cr, P, Zn.

This also applies to alloy foils made of stainless steel or other materials that have been improved in strength, corrosion resistance, etc. by adding elements such as.

ζ includes all of these.

,? The painting method is suitable for oil paintings, acrylic paints, Japanese paintings, pastel paintings, ink paintings, etc., but there is nothing wrong with applying it to other painting methods.

In both cases, the collapse caused by cracking and peeling is greatly improved, and the painting maintains its vividness and has excellent preservation properties.When used as a base material for new canvases, etc., it gives a strong sense of pleasure to the touch of a paintbrush. It is something.

〔Effect of the invention〕

As mentioned above, by applying the metal foil backing material of the present invention, it suppresses the expansion, contraction and water absorption of the base material such as cloth canvas, increases its strength, and is extremely excellent as a painting restoration material. When lined with canvas, etc., it is easy to use and provides a pleasant touch with a paintbrush, and when used with foil such as copper, it has an even more anti-mildew effect, making it suitable for use as a conventional painting support. It is extremely excellent. In this way, it is an extremely excellent material that can prevent or prevent the collapse of paintings.

[Brief explanation of the drawing]

This is a surface micrograph of . (d: raw mm surface (x3000) SEM photo photo wave N foil M
(X3000) SEM photograph). 1: Copper raw material 2: Electrolyte (copper sulfate aqueous solution) 3: Raw
Foil 4: 1st stage 5: 2nd stage 6: 3rd stage 7: Foil with surface coating layer formed Patent applicant: Nippon Mining Co., Ltd. (Ya Iz) Agent: Patent attorney (7569) Keishi Junyo Coating of the claimed invention I-foil with layers to improve adhesion Figure 1 7 Surface-covered foil 8 products May 1999

Claims (6)

[Claims] (1) A support for paintings, characterized in that a backing material of metal foil or metal foil having a surface coating layer is provided on the back side of the base material for paintings. (2) The support for a picture according to claim (1), wherein the metal foil is a copper foil. (3) A support for a picture according to claims (1) to (2), wherein the base material is made of cloth. (4) The support for a painting according to claims (1) to (2), wherein the base material is linen cloth. (5) The support for paintings according to claims (1) to (4), wherein the support for paintings is a canvas. (6) The support for a painting according to claims (1) to (4), wherein the support for a painting is a support for a mural painting.