Paper conservator Antonio Mirabile (AM) and a team of scientists from CSGI in Florence (Project partner and Project leader respectively) spent the last three years researching and developing new strategies to address the issue of pressure sensitive tapes removal from paper artifacts. Some of the outcomes of are now available through some publications and were presented by Antonio Mirabile through a two-day training course held at Tate Britain on 30 April and 1 May 2018. The course was structured to provide theoretical information in the morning, with a practical session in the afternoon. The first day focussed on an overview of PSTs, including their history and development, and their degradation over time.

Continue and read the whole article published on the TATE website.

In the last update from TATE researchers, the extensive cleaning system evaluation and optimising process were described. By the end of that process, TATE conservators are almost ready to take the hard work to "Whaam!", the famous painting by Roy Lichtenstein. The most promising gel developed in the Project frame, currently named "Peggy 6", seems to grant excellent performances in terms of removing soiling from paint films that were sensitive to wet cleaning procedures and abrasion and appears to offer an even cleaning effect over a large paint area.

Read the complete post on the TATE website.

The TATE NANORESTART science team has been focusing on the cleaning of “Addendum”, a 1967 work of art by Eva Hesse, finalising the mock-ups and carrying out an extensive cleaning system evaluation and refinement process.

Once the most promising cleaning solutions were identified, they started to evaluate which was the most effective and safe way to apply them onto the sculpture.

Alongside applications using cotton swabs and cosmetic sponges, different types of gels were also prepared, including the new polyvinyl alcohol/polyvinylpyrrolidone (PVA/PVP) and polyvinyl alcohol(PVA)-based gels synthesised by the NANORESTART lead partner CSGI during the Project.

Further information about this part of TATE work is reported on the TATE website.

Updates will be soon available there and in the Achievements section of the NANORESTART project.

The work on the "Whaam!" masterpiece by Roy Lichtenstein proceeds at TATE and researchers and conservators are evaluating different cleaning strategies, included commonly used materials such as deionised, adjusted and buffered waters, organic solvents (alcohols, hydrocarbons and silicones), and water-based systems with added chelating agents and surfactants. These cleaning fluids are being loaded into hydrogels. The range of gels evaluated include natural polysaccharide-based rigid gels (Agarose and Gellan gum), silicone emulsifiers (Velvesil Plus, Shin-Etsu KSG 210 and Shin-Etsu KSG 350z) and a rigid chemical hydrogel made of poly (2-hydroxyethyl methacrylate) and polyvinylpyrrolidone (known as Nanorestore Gel® Extra Dry). Finally, the polyvinyl alcohol-based gels developed by CSGI, NANORESTART project leaders are being tested.

Here you can find the complete post published on the TATE website.

The TATE NANORESTART science team and painting conservator Rachel Barker have started working on Whaam! 1963 by Roy Lichtenstein.

Whaam! is comprised of three different paint types, and this makes cleaning particularly challenging. This challange may be alleviated by the novel cleaning strategies introduced through the NANORESTART project.

In order to perform preliminary cleaning tests, several mockups were prepared by TATE researchers, mimicking the original artist's techniques. Samples are currenlty being artificially aged before proceeding to the next step.

Further information about this part of TATE researchers work is reported in the NANORESTART section of TATE website.

Updates will be soon available there and in the Achievements section of the NANORESTART project.


We are pleased to announce that a video on the conservation treatment of “Whaam!”, the 1963 masterpiece by Roy Lichtenstein, is now online. This contribution was specifically realised for the arrival on display of the painting in the Lichtenstein’s show at Tate Liverpool, which had opened in September last year.

The materials used to create the painting are challenging for conservators, as they don't react well to traditional cleaning methods. At last, a ground-breaking treatment broadly based on nanotechnology has allowed us to clean the work in a safe and controlled way, for the very first time in the painting's history. The treatment has been made possible thanks to a new gel created by CSGI, leader team of the NANORESTART Consortium.
Read the complete post published on Tate’s website.
View the video on Tate’s YouTube channel.

The conservation department of the Peggy Guggenheim Collection, Venice, partner of NANORESTART, has recently finished the restoration of The Studio (L’Atelier) by Pablo Picasso. The cleaning of the surface of the artwork has been conducted using nanomaterials developed within the NANORESTART project.

Starting from the 8th December, The Studio (L’Atelier) will be back in display at the Guggenheim Collection in Venice.

The Studio will be therefore temporary moved to the Solomon R. Guggenheim of New York for the exhibition "Visionaries: Creating a Modern Guggenheim", on the occasion of the 80th anniversary of the Solomon R. Guggenheim Foundation.

A gallery of the restored artwork back into Guggenheim Collection in Venice can be found here.

Further information about the restoration can be found here. (Italian only)



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