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Gels
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Gel Materials for Heritage Conservation
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Gel Materials for Heritage Conservation

A special issue of Gels (ISSN 2310-2861). This special issue belongs to the section "Gel Applications".

Deadline for manuscript submissions: 30 September 2025 | Viewed by 3547

Special Issue Editors

Dr. Emiliano Carretti

E-Mail Website
Guest Editor
Department of Chemistry “Ugo Schiff” & CSGI Consortium, University of Florence, 50019 Sesto Fiorentino, Italy
Interests: analytical chemistry; gel material; chemistry of the environment and cultural heritage
Dr. Rosangela Mastrangelo

E-Mail Website
Guest Editor
Department of Chemistry and CSGI, University of Florence, 50019 Sesto Fiorentino, Italy
Interests: polymer hydrogels; organogels; soft matter; cultural heritage conservation; laser confocal microscopy; fluorescence correlation spectroscopy
Dr. Damiano Bandelli

E-Mail Website
Guest Editor
Department of Chemistry, University of Florence, 50019 Sesto Fiorentino, Italy
Interests: polymer synthesis; polymer characterization; polymer networks; gels; cultural heritage preservation

Special Issue Information

Dear Colleagues,

The conservation and preservation of cultural heritage is of the utmost importance to safeguarding humanity’s rich history and promoting cultural continuity. Gel materials have emerged as valuable tools in heritage conservation owing to their unique properties, facilitating controlled cleaning, consolidation, and the protection of various types of historic artifacts. Hydrogels, for instance, exhibit excellent solvent retention abilities and are effective in cleaning fragile surfaces. Organogels, on the other hand, provide enhanced penetration abilities, making them suitable for consolidating porous materials.

Furthermore, the selection of appropriate gel materials depends on factors such as the type of artifact, desired cleaning mechanism, and compatibility with the substrate. Gel materials have revolutionized the field of heritage conservation, offering efficient and safe methods of preserving and restoring cultural artifacts.

This Special Issue, entitled “Gel Materials for Heritage Conservation”, aims comprehensively discuss the various applications of different types of gels for the cleaning, protection, and consolidation of works of art (from murals to canvas paintings, metal objects, and paper artworks, comprising both classic and modern/contemporary art).

We expect that key actors in the field will contribute to this discussion according to their areas of expertise, covering different types of gels such as hydrogels, organogels, emulgels, aerogels and gel-like materials.

Dr. Emiliano Carretti
Dr. Rosangela Mastrangelo
Dr. Damiano Bandelli
Guest Editors

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a single-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Gels is an international peer-reviewed open access monthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 2100 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • advanced gel materials
  • hydrogels
  • organogels
  • eco-sustainable materials
  • gel analytical chemistry
  • cultural heritage preservation
  • cleaning, consolidation, and protection

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Further information on MDPI's Special Issue polices can be found here.

Published Papers (2 papers)

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Research

Jump to: Review

19 pages, 5637 KiB  
Article
Gel Cleaning in Heritage: Comparison of the Water Release among Gels and Traditional Pads
by Antonio Sansonetti, Cristiano Riminesi, Sónia Mironiouk, Noemi Proietti, Valeria Di Tullio, Roberto Nisticò, Barbara Sacchi and Carmen Canevali
Gels 2024, 10(11), 708; https://doi.org/10.3390/gels10110708 - 2 Nov 2024
Viewed by 952
Abstract
Water release is a crucial aspect when considering cleaning effects on water-sensitive materials. In conservation practice, a water-based cleaning method which limits water release is very often needed. Unfortunately, this is not accompanied by an appropriate measure of the effectively released water. In [...] Read more.
Water release is a crucial aspect when considering cleaning effects on water-sensitive materials. In conservation practice, a water-based cleaning method which limits water release is very often needed. Unfortunately, this is not accompanied by an appropriate measure of the effectively released water. In this paper, water release has been measured by comparing traditional cleaning formulations, such as paper pulp and sepiolite, with several gar gel formulations, used by both Italian and European conservators. The assessment has been carried out by the gravimetric method, using three different stone material specimens as reference: Noto calcarenite, Manciano sandstone and Black Bergamo limestone, whose porosity values and distributions are known. Moreover, water distribution has been evaluated by portable NMR tests. Different commercial agar gel products (Bresciani, CTS, Sigma), having different concentrations (3, 4, and 5%), application modes (rigid at room T or fluid warm gels, with and without inserting Japanese tissue paper), and geometry (horizontal in gravity force direction or vertical), have been compared to obtain a full scenario among different water release mechanisms present in real conservation works. The paper faces the important issue of preparing reproducible chemical or water pads as well, useful for further research aimed at comparing cleaning effects in heritage conservation. The most interesting quantitative results can be summarized as follows. The water release measured from paper pulp and sepiolite was found to be 2 to 4 times higher than from any tested agar gel. Water release decreases by increasing agar concentration; an increase in the agar concentration by 1% induces a decrease in water release in the range 16.98–66.88 g depending on the stone; the increase from 4% to 5% is more obvious with respect to that from 3% to 4%. It is possible to assess the effect of the presence of Japanese paper, which is able to reduce the water release from 18 to 76%, depending on the stone and on the agar used. The gravimetric results were also used in the preliminary calibration tests of a contact probe named System Unit Salinity Index (SUSI), recently patented and useful in providing humidity and salinity indexes in a given porous material. Full article
(This article belongs to the Special Issue Gel Materials for Heritage Conservation)
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Figure 1

Figure 1
<p>(<b>a</b>) Water released on Noto calcarenite. (<b>b</b>) Water released on Manciano sandstone. (<b>c</b>) Water released on Bergamo Black limestone.</p> Full article ">Figure 1 Cont.
<p>(<b>a</b>) Water released on Noto calcarenite. (<b>b</b>) Water released on Manciano sandstone. (<b>c</b>) Water released on Bergamo Black limestone.</p> Full article ">Figure 2
<p>Amount of water absorbed for surface unit vs. time in min (CTS Agar 3% on Noto calcarenite, Manciano sandstone, and Black limestone).</p> Full article ">Figure 3
<p>(<b>a</b>) Water released on Noto Calcarenite by gels as a function of Bresciani Agar percentage (3%, 4%, 5%). (<b>b</b>) Water released on Manciano Sandstone by gels as a function of Bresciani Agar percentage (3%, 4%, 5%). (<b>c</b>) Water released on Black limestone by Gels as a function of Bresciani Agar percentage (3%, 4%, 5%).</p> Full article ">Figure 3 Cont.
<p>(<b>a</b>) Water released on Noto Calcarenite by gels as a function of Bresciani Agar percentage (3%, 4%, 5%). (<b>b</b>) Water released on Manciano Sandstone by gels as a function of Bresciani Agar percentage (3%, 4%, 5%). (<b>c</b>) Water released on Black limestone by Gels as a function of Bresciani Agar percentage (3%, 4%, 5%).</p> Full article ">Figure 4
<p>(<b>a</b>) Noto calcarenite water release in vertical and horizontal geometry by CTS Agar 3% gel. (<b>b</b>) Manciano sandstone water release in vertical and horizontal geometry by CTS Agar 3% gel.</p> Full article ">Figure 5
<p>(<b>a</b>) Noto calcarenite water release by Bresciani Agar 4%, applied as warm fluid and as rigid gel. (<b>b</b>) Manciano sandstone water release by Bresciani Agar 4%, applied as warm fluid and as rigid gel.</p> Full article ">Figure 6
<p>(<b>a</b>) Noto calcarenite. Comparison of water release with and without the Japanese paper. CTS Agar 3% and Bresciani Agar 3%. (<b>b</b>) Manciano sandstone. Comparison of water release with and without the Japanese paper. CTS Agar 3% and Bresciani Agar 3%. (<b>c</b>) Black limestone. Comparison of water release with and without the Japanese paper. CTS Agar 3% and Bresciani Agar 3%.</p> Full article ">Figure 7
<p>¹H NMR depth profiles for Noto stone (<b>a</b>), Manciano stone (<b>b</b>), and Black limestone (<b>c</b>) after the application of Sepiolite, Agar CTS, and Agar Bresciani at 3% concentration for 30 min.</p> Full article ">Figure 8
<p>(<b>a</b>) Noto calcarenite Moisture content (MC%) after water release by traditional and CTS Agar 3%. (<b>b</b>) Comparison of the moisture content (MC%) released on the three different stones. (<b>c</b>) Comparison of the water released by CTS Agar 3% on the three different stones.</p> Full article ">Figure 8 Cont.
<p>(<b>a</b>) Noto calcarenite Moisture content (MC%) after water release by traditional and CTS Agar 3%. (<b>b</b>) Comparison of the moisture content (MC%) released on the three different stones. (<b>c</b>) Comparison of the water released by CTS Agar 3% on the three different stones.</p> Full article ">Figure 9
<p>From left to right: Noto calcarenite, Manciano sandstone, Bergamo black limestone with rigid Bresciani agar gel 3%.</p> Full article ">Figure 10
<p>Synoptic scheme of the overall comparison among gels.</p> Full article ">Figure 11
<p>(<b>a</b>) SUSI© system consisting of: scalar network analyzer (SNA), notebook (NB), and EFD-P probe; (<b>b</b>) the solid line is the frequency response for the unloaded resonant probe, the dotted line is the behavior for the probe in contact with the material under investigation (humidity and salt quantity not specified).</p> Full article ">

Review

Jump to: Research

35 pages, 19326 KiB  
Review
A Review on Traditional and Artificial Intelligence-Based Preservation Techniques for Oil Painting Artworks
by Salman Khalid, Muhammad Muzammil Azad, Heung Soo Kim, Yanggi Yoon, Hanhyoung Lee, Kwang-Soon Choi and Yoonmo Yang
Gels 2024, 10(8), 517; https://doi.org/10.3390/gels10080517 - 6 Aug 2024
Viewed by 2125
Abstract
Oil paintings represent significant cultural heritage, as they embody human creativity and historical narratives. The preservation of these invaluable artifacts requires effective maintenance practices to ensure their longevity and integrity. Despite their inherent durability, oil paintings are susceptible to mechanical damage and chemical [...] Read more.
Oil paintings represent significant cultural heritage, as they embody human creativity and historical narratives. The preservation of these invaluable artifacts requires effective maintenance practices to ensure their longevity and integrity. Despite their inherent durability, oil paintings are susceptible to mechanical damage and chemical deterioration, necessitating rigorous conservation efforts. Traditional preservation techniques that have been developed over centuries involve surface treatment, structural stabilization, and gel-based cleaning to maintain both the integrity and aesthetic appeal of these artworks. Recent advances in artificial intelligence (AI)-powered predictive maintenance techniques offer innovative solutions to predict and prevent deterioration. By integrating image analysis and environmental monitoring, AI-based models provide valuable insights into painting preservation. This review comprehensively analyzes traditional and AI-based techniques for oil painting maintenance, highlighting the importance of adopting innovative approaches. By integrating traditional expertise with AI technology, conservators can enhance their capacity to maintain and preserve these cultural treasures for future generations. Full article
(This article belongs to the Special Issue Gel Materials for Heritage Conservation)
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Graphical abstract

Graphical abstract
Full article ">Figure 1
<p>Overview of traditional and AI-based methods to address mechanical damage and chemical deterioration in oil paintings.</p> Full article ">Figure 2
<p>Common fracture phenomenon in historical paintings. (<b>a</b>) Girl with Pearl Earring. (<b>b</b>) Still life with flowers by Ambrosius Bosschaert. (<b>c</b>) Anonymous Italian [<a href="#B32-gels-10-00517" class="html-bibr">32</a>].</p> Full article ">Figure 3
<p>Curing of oil paint in varying RH conditions [<a href="#B37-gels-10-00517" class="html-bibr">37</a>].</p> Full article ">Figure 4
<p>A (<b>a</b>) real painting and (<b>b</b>) a close-up, with a microclimate monitoring system attached inside the inlet [<a href="#B41-gels-10-00517" class="html-bibr">41</a>].</p> Full article ">Figure 5
<p>‘Winter’ painting by Gr. Alexandrescu used to demonstrate the extent to which gamma-ray treatment alters pigment colors [<a href="#B52-gels-10-00517" class="html-bibr">52</a>].</p> Full article ">Figure 6
<p>Representation of the kinetics of smalt carboxylate formation with a black arrow depicting the carboxylate band [<a href="#B58-gels-10-00517" class="html-bibr">58</a>].</p> Full article ">Figure 7
<p>Comparison of the stress–strain curves of four adhesives [<a href="#B61-gels-10-00517" class="html-bibr">61</a>].</p> Full article ">Figure 8
<p>Areas of the painting analyzed using mid-FTIR spectroscopy showing the absence of Prussian blue in varnished regions (head, hand) and its presence under the frame where varnish is absent, confirming the original pigment use to depict a darkened interior [<a href="#B71-gels-10-00517" class="html-bibr">71</a>].</p> Full article ">Figure 9
<p>Some basic hardware and software components required for the AI-based maintenance of oil paintings.</p> Full article ">Figure 10
<p>The five examined paintings fabricated by Oriani and the locations of the sites that were analyzed using XRF, μ–Raman, and FTIR spectroscopy (taken with permission from Ref. [<a href="#B86-gels-10-00517" class="html-bibr">86</a>]).</p> Full article ">Figure 11
<p>Results obtained from the proposed deep learning model for illumination correction using (<b>a</b>) oil pastel painting, (<b>b</b>) wall painting with vector information, and (<b>c</b>,<b>d</b>) images from a laptop screen (taken with permission from Ref. [<a href="#B90-gels-10-00517" class="html-bibr">90</a>]).</p> Full article ">Figure 12
<p>The accuracy, precision, and recall score for each art style in the dataset.</p> Full article ">Figure 13
<p>An original painting and some important features present in oil paintings that can be used for intelligent vision-based maintenance.</p> Full article ">Figure 14
<p>(<b>a</b>) Landscape, (<b>b</b>) oil painting of Van Gogh’s “Starry Night”, and (<b>c</b>) stylized image (taken with permission from Ref. [<a href="#B106-gels-10-00517" class="html-bibr">106</a>]).</p> Full article ">Figure 15
<p>The fractal dimension distribution based on right- and left-handed painters using a flat or round brush replicated by Bootstrap [<a href="#B111-gels-10-00517" class="html-bibr">111</a>].</p> Full article ">Figure 16
<p>Some common damage types present in oil paintings. The red box highlights specific types of damage, providing a detailed view of their locations and characteristics.</p> Full article ">Figure 17
<p>The proof of fusing color, texture, and shape features of oil paintings for authenticity identification [<a href="#B101-gels-10-00517" class="html-bibr">101</a>].</p> Full article ">Figure 18
<p>An illustrative example demonstrating the process of constructing a fusion map. (<b>a</b>) The image is the original version of a specific section from the panel called Singing Angels. (<b>b</b>) Map of fusion. Dark cracks are represented in white on the fusion map, while light cracks are represented in black (taken with permission from Ref. [<a href="#B121-gels-10-00517" class="html-bibr">121</a>]).</p> Full article ">
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