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Analysis and conservation treatment of Vietnamese paintings

Conference Paper · September 2011

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PAINTINGS Bettina Ebert*
Asiarta Foundation
Kuala Lumpur, Malaysia
be@asiarta.org
www.asiarta.org
www.witnesscollection.org
Sally MacMillan Armstrong
Canterbury, New Zealand
sally.macmillan@gmail.com
Analysis and
Brian Singer conservation
Northumbria University treatment of
Newcastle upon Tyne, UK Vietnamese
brian.singer@northumbria.ac.uk
Nicky Grimaldi paintings
Northumbria University
Newcastle upon Tyne, UK
nicky.grimaldi@northumbria.ac.uk
*Author for correspondence

Keywords: Vietnam, zinc white, zinc Introduction

soaps, zinc sulphate, consolidation,
matte paint, flaking, tenting
Abstract
Two modern Vietnamese portrait paintings
were investigated. The paintings required
conservation treatment in the form of con-
solidation due to extensive flaking, tenting,
blind cleavage and friability of the paint lay-
ers. Both paintings were painted in Hanoi in
1963 by respected Vietnamese artist Nguyễn
Trọng Kiệm. Due to the complex nature of the
paintings, technical examination and scien-
tific analysis were undertaken prior to devel-
oping a successful treatment approach. Zinc
white was identified as the main pigment
used, and zinc sulphates were extensively
present as degradation products, raising
treatment issues due to their water-soluble
nature. Conservation treatment of one of the
paintings is described. Consolidation of the
matte paint was undertaken using Aquazol,
in combination with pre-stretching of the
canvas for the reduction of planar deforma-
tions and flattening of tented paint layers.
Résumé
Deux portraits modernes vietnamiens ont été
étudiés. Ces tableaux nécessitaient un traite-
ment de consolidation en raison de l’écaillage,
du soulèvement en tente, du soulèvement en
cloche et de la friabilité des couches pictura-
les. Les deux tableaux ont été peints à Ha-
noi en 1963 par le réputé artiste vietnamien
Nguyễn Trọng Kiệm. En raison de la nature
complexe des tableaux, un examen techni-
que et une analyse scientifique ont été en-
trepris avant de mettre au point une méthode
de traitement efficace. Le blanc de zinc a été
identifié comme le principal pigment utilisé,
et la présence de sulfates de zinc comme pro-
duit de dégradation est étendue, ce qui pose
des problèmes de traitement en raison de
leur nature hydrosoluble. Le traitement de
The materials and techniques used by Vietnamese artists have received
little attention from researchers, while available data exists primarily as
anecdotal information from artists, their relatives and students. Due to
extreme environmental conditions and poor storage amid the ravages
of decades of war, brittle and flaking paint is characteristic of many oil
paintings in Vietnam, and a large number are in urgent need of conservation
treatment. Two such paintings from 1963, Portrait of the Artist’s Wife and
Portrait of a Student (Figures 1 and 2), by Vietnamese artist Nguyễn Trọng
Kiệm (1933–1991), were investigated. Their analysis and subsequent
treatment revealed the complex nature of the paintings and highlighted
factors contributing to their deterioration, as well as possible conservation
approaches.
Historical background
After having studied art in the Resistance Class in the hills of the Việt Bắc
from 1950 to 1954, Trọng Kiệm built his career as a respected artist and
professor of art at the Industrial Fine Art University in Hanoi, where he taught
until his death in 1991. The majority of Trọng Kiệm’s paintings were in line
with State-supported nationalistic themes. However, in his private time, he
explored subjects and styles beyond the boundaries of accepted social realism
and propaganda art as encouraged by the Communist government.
The two paintings are examples of the artist’s personal experimentation.
With simplified angular shapes, flattened perspective and heavy outlines,
they demonstrate French modernist influences, particularly the work of
Picasso. In the restricted cultural environment of the 1960s, Trọng Kiệm
found access to Western artistic developments through books given to
him by friends (MacMillan 2007).
The paintings have had a turbulent history, having been taken off their
secondary supports and stored in a safe place during the 1960s aerial
bombings of Hanoi. During this period, it is surmised that the unstretched
paintings were poorly stored. The paintings remained in the possession
of the artist’s family until their recent acquisition by Witness Collection,
an important collection of modern and contemporary Vietnamese art
currently based in Malaysia.

1

PAINTINGS
conservation de l’un des tableaux est décrit.
Le renforcement de la peinture mate a été
réalisé à l’aide d’Aquazol, après avoir d’abord
retendu la toile pour réduire les déformations
de la surface et aplanir les couches picturales
présentant un soulèvement en tente.
Resumen
Se analizaron dos retratos vietnamitas mo-
dernos. Las pinturas requerían tratamiento de
conservación en forma de consolidación de-
bido a la descamación, escamas en “v”, fisuras
extensivas y a la friabilidad de las capas pic-
tóricas. Ambos retratos se pintaron en Hanoi
en 1963 por el respetado artista vietnamita
Nguyễn Trọng Kiệm. Debido a la compleja na-
turaleza de las pinturas, se realizaron análisis
técnicos y científicos antes de desarrollar un
acercamiento de tratamiento adecuado. Se
identificó blanco de zinc como el pigmento
principal y había una gran presencia de sulfa-
tos de zinc como productos de degradación,
lo cual provocó problemas en el tratamiento
debido a su naturaleza soluble en agua. Se
describe el tratamiento de conservación de
uno de los cuadros. La consolidación de la
pintura mate se llevó a cabo utilizando Aqua-
zol y estirando previamente el lienzo para
reducir las deformaciones de plano y aplanar
las escamas levantadas.
Analysis
and conservation treatment
of Vietnamese paintings
Condition and conservation concerns
The support for both paintings consisted of a coarse linen canvas attached
by iron-alloy nails (now corroded) to a crude hand-sawn strainer. Both
paintings were originally stretched onto smaller strainers, evident from
old tack holes in the canvas. The canvases are covered by a porous thin
ground layer, with no evidence of a sizing layer.
The painting Portrait of the Artist’s Wife (Figure 1) contains passages of
thinly applied oil-based paint, as well as areas of thick, heavily textured
impasto. The thinly-painted areas were flaking extensively, while cleavage
of the impasto was visible at the ground and paint interface. Small round
white particles were observed within the impasto, giving it a granular
consistency. In many places, the paint had broken away from these particles.
A discoloured surface coating was identified as an alkyd resin varnish
through gas chromatography – mass spectrometry (GCMS), however, the
painting is very matte. A thick layer of dirt composed of dust and insect
excreta gave the painting a dull, greyish appearance. A granular surface
deposit likely to be efflorescence was also identified.
The painting Portrait of a Student (Figure 2) consists of numerous layers
of thinly applied oil-based paint, and is very matte in appearance. The
majority of the painting was repainted by the artist during the 1980s prior
to exhibition of the painting, when significant paint loss had already
occurred (Ebert 2008). The paint was found to be flaking extensively, and
blind cleavage was present in many areas. In addition, severe tenting of
the paint layers had occurred due to shrinkage of the canvas in response
to high humidity levels. The painting was unvarnished, with a layer of
efflorescence on the surface.
Actively flaking paint was the primary concern for both paintings, with the
paint very brittle. Lack of adhesion between the paint and ground layers
had to be addressed to ensure the safety of the paint layers. In addition,
surface dirt removal and additional structural support was necessary.
Portrait of a Student would also require treatment of tented paint layers
and blind cleavage present over large parts of the painting. Lastly, planar
deformations would need to be addressed, followed by filling and retouching
of losses to unify the composition.
Overview of scientific analysis
Scientific investigations sought to illuminate the materials, techniques and
degradation mechanisms in the paintings. Media analysis was undertaken
by Fourier transform infrared spectroscopy (FTIR) as well as GCMS using
a method combining protein and fatty acid analysis (Singer and McGuigan
2007), or using a transesterification/methylation method (White and Kirby
1994) for alkyd and oil analysis.
Based on results of GCMS, the ground in both paintings was determined
to contain a drying oil and a proteinaceous medium identified as casein,
indicating the possibility of the artist’s use of a casein and oil emulsion
2
 Analysis
and conservation treatment
PAINTINGS of Vietnamese paintings

for the ground layers. GCMS analysis of the paint layers suggested that
linseed oil was the likely binding medium used by the artist. The triglyceride
network in the paint medium had undergone extensive conversion to zinc
carboxylate soaps, as identified from characteristic peaks obtained through
FTIR analysis (Figure 3). It may be concluded that the degradation was a
result of reaction between fatty acids in the paint medium and metal ions
in the zinc oxide pigment, in the presence of moisture in the humid Hanoi
environment. A thin media layer on top of the ground in both paintings
was identified as collagen-based glue. A similar animal glue layer was also
identified between the original paint and overpaint on the painting Portrait of
a Student. Swelling and weakening of this hygroscopic material during periods
of high humidity could have exacerbated flaking of the paint layers.

Samples taken from both paintings were examined by polarized light

microscopy (PLM) and scanning electron microscopy coupled with
energy dispersive x-ray analysis (SEM-EDX). The results were compared
with pigment databases and compendia, allowing conclusions on the
likely pigments to be drawn. The ground of both paintings was found to
consist of lithopone. Lithopone was also found to be present in the artist’s
overpaint in the painting Portrait of a Student. This correlated with the
characteristic orange fluorescence of overpaint when viewed in ultraviolet
(UV) light. Zinc oxide was the main pigment component of the paint, being
extensively present in almost all layers for both paintings. Some other
pigments identified included viridian, Prussian blue, synthetic ultramarine,
cadmium red, haematite and bone black. SEM imaging revealed a high
pigment concentration, poorly bound pigment particles and an open porous
structure, factors which have contributed to the friability of the paint and
the matte appearance.

Zinc sulphate was found throughout the paint films, indicating the paintings
had been affected by atmospheric sulphur dioxide pollution (CAI–Asia

Figure 1
Nguyễn Trọng Kiệm (1933–1991), Portrait of
the Artist’s Wife, 1963. © Witness Collection,
57 cm × 38 cm, photograph before
treatment in reflected light

Figure 2
Nguyễn Trọng Kiệm (1933–1991), Portrait
of a Student, 1963. © Witness Collection,
53 cm × 45 cm, photograph before
treatment in reflected light

Figure 3
FTIR spectrum obtained for paint sample from Portrait of the Artist’s Wife

3

PAINTINGS
Figure 4
SEM backscatter image of paint surface from
Portrait of a Student
Figure 5
Paint cross-section from Portrait of the
Artist’s Wife viewed in reflected and UV light
Figure 6
SEM backscatter image of paint
cross‑section from Portrait of the Artist’s Wife
Analysis
and conservation treatment
of Vietnamese paintings
Secretariat 2006). Efflorescence on both paintings was identified by SEM-
EDX as consisting of zinc sulphate crystals, albeit in different hydration
states (Koyano and Kadokura 1987). Efflorescence on Portrait of a Student
consisted of zinc sulphate hexahydrate crystals with monoclinic structure
(Figure 4), while clusters of acicular crystals recognisable as zinc sulphate
heptahydrate were also visible. The hexahydrate form is likely to have
resulted from loss of moisture and subsequent re-crystallisation during
elevated ambient temperatures. Zinc sulphate crystals on the surface of
Portrait of the Artist’s Wife were distinctively cubic in form, possibly being
of the monohydrate variety. In addition, free fatty acids and carboxylate
soaps were present on both paintings’ surfaces.
The unusual circular inclusions found within the impasto layer of Portrait
of the Artist’s Wife were examined by SEM-EDX and were found to consist
of masses of acicular zinc sulphate heptahydrate crystals (Singer et al.
2009). Elemental mapping confirmed that the lumps did not consist of
zinc soap aggregates (Boon, Hoogland and Keune 2006) due to a similar
amount of zinc present in the surrounding paint. This suggests that the
lumps had formed out of poorly-bound zinc oxide, whereby the porous
underbound paint would have allowed atmospheric sulphur dioxide to
penetrate paint layers and react with zinc oxide particles, leading to the
formation of zinc sulphate. The conversion of zinc oxide to hydrated zinc
sulphate involves an approximately ten-fold increase in volume, and this
expansion could account for weakening of the paint film and ruptures
within the paint. Because zinc sulphate is extremely water-soluble, it was
foreseen that its pervasive presence could pose problems for conservation
treatments involving aqueous methods.
Differential UV fluorescence of zinc white and its appearance through
SEM imaging revealed the artist’s use of two types of zinc white. During
cross-section examination, areas known to consist of zinc white fluoresced
bright with a green hue in UV light. However, bluish-purple fluorescence
of white particles was also observed (Figure 5). SEM imaging (Figure 6)
revealed that pigment particles in the bluish-purple fluorescent area are
more finely ground, forming a denser, separate layer from the surrounding
white pigment. Despite this different fluorescence and particle morphology,
elemental analysis indicated that these two distinct areas consist exclusively
of zinc white in identical proportions.
Zinc white manufactured using the Direct process is said to exhibit
bright apple-green fluorescence and to be more photo-chemically stable
(Morley‑Smith 1958). On the other hand, zinc white prepared using the
Indirect process fluoresces in colour ranging from greenish-khaki to purple,
correlating with the differential fluorescence observed. However, elemental
analysis did not identify any sulphates within areas of Indirect process zinc
white, and zinc sulphate crystal growth has developed only within areas of
Direct process zinc white, suggesting that further research into the stability
of different zinc white grades may be useful. This also demonstrates that
Trọng Kiệm’s materials varied in quality and were obtained from different
4
 Analysis
and conservation treatment
PAINTINGS of Vietnamese paintings

sources. Since he relied on government-provided materials, Trọng Kiệm

often had to resort to what was currently available.

Conservation treatment of Portrait of a Student

Extensive testing of consolidants was undertaken, since consolidation

would be the most important issue to address. Despite knowledge of
the water-sensitive nature of the paintings, aqueous consolidants were
initially tested due to their compatibility with matte paint surfaces. Some
aqueous consolidants tested included funori, isinglass and Jade 403N. Even
though different application methods including ultrasonic misting were
evaluated, aqueous systems were ruled out as they further weakened the
paint layers. Solvent-based consolidants including Klucel G, Mowilith 30,
EVA, Plexisol, Paraloid B44 and B72 were tested, using different solvents
and added matting agents. However, they significantly altered the surface
appearance, making them unsuitable for use. Eventually, the only suitable
consolidant was determined to be Aquazol dissolved in 2-propanol (Ebert
et al), as it safely consolidated the paint without any unwanted effects. As
a result, a 2.5 percent weight per volume (w/v) solution of Aquazol 200
in 2-propanol was applied by brush to localised areas of flaking paint.

In order for the raised paint to be successfully consolidated, the canvas

would have to be stretched. Expansion of the canvas would allow raised
paint to once again be accommodated. Pre-stretching using paper on a
keyable frame was opted for as a suitable technique. This required removal
of the painting from its strainer, followed by flattening of the tacking
margins. A minimal amount of moisture was applied to the verso by means
of damp blotting paper. Strips of wet parcel paper were placed outside
the painting’s edges, overlapping the tacking margins. Acid-free gummed
paper tape was then used to adhere the parcel paper to the tacking margins.
A wooden frame was placed on top such that the painting was positioned
centrally with a gap around the edges. Excess paper was then wrapped
around the frame and adhered to it using gummed paper tape.

The idea is that on drying, the paper should shrink minimally, pulling
the canvas taut in the process, and expanding it as a result. During the
drying process, a board underneath the painting provided support, and
the frame was placed up on blocks for air circulation. Once the paper
had dried, it was found that the painting was under slight tension, but not
sufficient to afford space for the paint to lie flat. The paper was therefore
dampened with a sponge to repeat the process. While the paper was damp,
the frame was gently keyed out. This process was repeated several times
until sufficient tension had been achieved. Observation of the painting
revealed that some of the planar deformations were greatly reduced and
some tented paint had begun to open up.

Before attempting to further consolidate the flaking paint, it was decided

to remove dirt from the verso. This would prevent consolidant seeping
through the support and adhering loose dust onto the back of the canvas.
The frame was suspended across a gap created by two tables, allowing
5
 Analysis
and conservation treatment
PAINTINGS of Vietnamese paintings

access to the verso from underneath. Bar weights placed on the sides of the
frame held it in position during treatment. Loose dirt was removed using
a soft brush and vacuum cleaner. A thick layer of dirt was removed in the
process, revealing a chalk inscription. At the same time, a paper label was
removed from the verso. This was cleaned with a soot sponge and excess
adhesive scraped off using a scalpel before storing in a suitably‑sized
wallet cut out of Melinex.

A hot air blower was used to plasticise areas of tented paint prior to
application of the consolidant. The heat provided the raised paint with a
small degree of flexibility. The consolidant was applied by brush, followed
by further heating with the hot air blower. Once the paint was sufficiently
flexible, it could be flattened without fracturing by ironing the surface
with a spatula. This process was repeated with gently increasing pressure
from the spatula until the tented paint had relaxed down into plane. This
Figure 7 technique allowed the majority of tented areas to be treated successfully
Detail photograph in raking light, showing
reduction of tenting (Figure 7). The presence of extensive blind cleavage and powdery paint
necessitated an overall consolidation treatment. Once initial localised
consolidation had secured the paint layers, the frame was turned over.
Several coats of consolidant were brushed on to the verso and recto.

Surface dirt removal of the recto was subsequently undertaken. Initially, a

soft brush was used, followed by damp swabs of saliva. Insect excreta were
removed mechanically with a scalpel. Dirt removal led to a significant tonal lift,
while also removing efflorescence and excess consolidant from the recto.

Due to the fragility of the canvas and paint layers, it was felt that the painting
would also benefit from additional structural support in the form of a loose
lining. Polyester with a linen appearance was chosen, since it would not
significantly alter the appearance of the verso. The fabric was cut slightly
larger than the strainer, and prepared with two coats of a 25 percent v/v
solution of EVA in Stoddard solvent. Two pieces of Bondina were cut to
the size of the painting, and adhered to the centre of the polyester in order
to increase rigidity of the loose lining. This “sandwich” was then stretched
onto the strainer such that the Bondina would be in contact with the verso
of the painting.

Due to the presence of rust damage as well as the unequal width of the
tacking margins, it was decided to provide the margins with a strip lining.
A 25 percent v/v solution of EVA in Stoddard solvent was brushed on to
the tacking margins as an adhesive. Stabiltex was prepared by ironing
EVA film to the surface. This was then cut into strips which were placed in
position along the tacking margins, extending half a centimetre beyond the
turnover line. The Stabiltex strips were then adhered to the canvas using
a heated iron.

The parcel paper was finally wet out in order to reduce tension on the
painting. The paper was then cut off the frame, and the gummed paper
tape removed. The painting was turned over and the strainer placed in
position on the verso in order to ensure its correct alignment. With the

6
 Analysis
and conservation treatment
PAINTINGS of Vietnamese paintings

canvas pulled taut, stainless steel staples were used to fix it in position.
Expansion of the canvas was deemed a success once the painting had
been restretched, as seen by the reduction of planar deformations and
tented paint (Figure 8).

Based on the result of tests to ascertain the most suitable filling material,
losses were filled using a 10 percent w/v solution of Aquazol 500 in
2-propanol with added whiting. After drying, a scalpel was used to recreate
surface texture, while mimetic retouching reduced the visual impact of
areas of loss. For this purpose, dry pigments bound in a 20 percent w/v
solution of Aquazol 200 in 2-propanol were used.

Figure 8
Portrait of a Student before and after treatment photographed in raking light

Conclusion

The extensive use of zinc white in both paintings was found to be a

significant factor in their severe state of deterioration, in combination with
high humidity and atmospheric sulphur dioxide pollution in the Hanoi
environment. Numerous unusual characteristics associated with the use of
zinc white were observed. The formation of zinc sulphates within the paint
layers affected treatment approaches, due to their water-soluble nature.
Aquazol proved to be ideal for the consolidation of such matte water-
sensitive paintings, and was subsequently used for filling and retouching
of losses. It is hoped these findings may assist other conservators working
on Vietnamese paintings.

Acknowledgements

The authors would like to thank Adrian Jones, Executive Director of

Witness Collection, for supporting the project.

References
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paints affecting metal soap migration and aggregation. In AIC 34th Annual Meeting, June
16–19 2006, Providence, RI, ed. H. Mar Parkin, 16–23. Washington: AIC.

7
 Analysis
and conservation treatment
PAINTINGS of Vietnamese paintings

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Materials list
Aquazol®
Poly(2-ethyl-2-oxazoline)
http://kremer-pigmente.de

EVA (Lascaux heat-seal adhesive 375) and polyester fabric

A.P. Fitzpatrick, 142 Cambridge Heath Road, London E1 5QJ
Tel: +44 20 7790 0884

Melinex (polyester sheet) and Bondina (non-woven polyester)

http://www.preservationequipment.co.uk

Soot sponge (vulcanized rubber)

http://www.conservation-resources.co.uk

Stabiltex (Polyester/Polymon 68/38)

http://www.plastok.co.uk

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