Preservation of artwork is critical to ensure history, culture, and science are passed from one generation to another. Most artifacts are sensitive to destructive agents within the atmosphere in museums. Frequent humidity changes can cause dimensional changes in the panel painting, polychrome sculpture, and wood furniture, causing spiting and cracking of the wood with loss of the painted surface decoration (Baer, 2019) . High humidity tends to cause foxing on prints and books and mold growth, whereas relative humidity shall lead to photographic films and prints to become brittle. Chemistry is essential to ensure the preservation of art for future generations.
Excessive low humidity makes materials dry and shrinks out. The veneer on the artwork made of wood becomes brittle and dries out. The oriental inlays, paint, and gesso become loose and detach. Papyrus and paper are harder to handle after drying out. Textiles are also susceptible to damage when the air in the environment is very dry (Ooi et al., 2019). The exhibits having silk or hair stretched across boards and frames can become brittle and break. Moist and dry conditions can also affect the mineral content in pottery, terracotta, and stone. When wet, the sails in them can be brought to the surface by moisture. After drying, the salts shall then crystalize on the surface, leading t stain on the surface and even causing powdering and flaking. When humidity fluctuates frequently, it makes the hygroscopic materials too contract and swells repetitively. The constant fluctuations shall cause stress on the materials consisting of the fibers and weakening them. Finally, embrittlement shall happen. One example of the results of the constant expansion followed by the contraction is the oil painting flaking. Canvas does well in a variation of humidity over time. Nonetheless, it responds fast to rapid changes. Whereas the long-term changes do not affect it dramatically, the humidity level's rapid changes lead to constant fluctuation that could damage the material or the paint layer.
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Chemists have created treated silica gel that stabilizes humidity where sensitive artifacts are displayed on the sealed cases. Most chemists working in museums conduct a wide range of investigations, including studying the structure and chemical composition of artifacts, materials used in the repair, conservation, restoration, and corrosion products. The museum environment's effect comprising relative humidity and temperature fluctuations, air pollutants, visible and ultraviolet illumination, biological activity, represents a major area of research (Baer, 2019) . A different area of interest is evaluating the long-term stability, safety, and effectiveness of techniques and materials to conservation work of art. Even though the analytical techniques appear to dominate most other areas, engineering, physics, chemistry, and biology, comprising corrosion engineering and polymer chemistry, plays a role in the active conservation science.
Conservators may attempt to preserve works of art through modifications of the works by replacing components that existed. Those replacements could undo the repairs from the previous generations or add nonexistent materials. Plastics are the materials that are considered environmental hazards and could chock wildlife, leach chemicals, and litter everywhere. Because plastics are made of polymers, they can be modified with additives. Plasticizers are one example of additives, which are small molecules added to the polymer o make the final material easier to mol and melt (Ooi et al., 2019). A plastic-like PVC can be transformed into an unplasticized item like a plumbing pipe, whereas the plasticized PVC can be utilized as shower curtains.
Most of the chemists in museums can use their knowledge to conserve artifacts that can be destroyed by environmental factors, including humidity. They study the structure and the composition of the artifacts to be able to transform that art into forms that can last for more years.
References
Baer, S. (2019) Art Conservation Chemistry. Access Science . Conservation Center of the Institute of Fine Arts, New York University.
Ooi, S. Y., Salvador, C., Martins, S., Pereira, A., Caldeira, A. T., & Prates Ramalho, J. P. (2019). Development of a Simple Method for Labeling and Identification of Protein Binders in Art. Heritage , 2 (3), 2444-2456.
