Abstract: This chapter provides a description of colour changes in the Amsterdam Sunflowers due to chemical alteration of pigments, with a focus on geranium lakes and chrome yellows. The brilliant and forceful colours of these and other late nineteenth-century synthetic materials offered artists such as Vincent van Gogh new means of artistic expression that exploited a range of contrasting hues and tints. However, geranium lakes have a strong tendency to fade and chrome yellows to darken under the influence of light. Van Gogh, like other artists of his day, was aware of this drawback, yet he continued to favour the use of both pigments up until his death in July 1890 due to the unparalleled effects they gave. In April 1888, Vincent wrote to his brother Theo: Van Gogh's use of unstable colours opens a series of questions regarding the extent to which colour change affects the way his paintings look today, as discussed here in relation to the Amsterdam Sunflowers. Furthermore, given the frequency with which geranium lakes and chrome yellows occur in Van Gogh's paintings of the period 1888–90 and the predominance of chrome yellows in Sunflowers, it becomes important to understand the factors that can drive these processes of deterioration in order to develop appropriate strategies for conserving the artist's works.

Abstract: Transition-metal dichalcogenides such as MoS2 or WS2 are semiconducting materials with a layered structure. One single layer consists of a plane of metal atoms terminated on the top and bottom by the chalcogen atoms sulfur, selenium, or tellurium. These layers show strong in-plane covalent bonding, whereas the Van-der-Waals bonds in between adjacent layers are weak. Those weak bonds allow the microcleavage and extraction of a monolayer. Transistors built on such monolayer nanosheets are promising due to high electrostatic controllability in comparison to a bulk semiconductor. This is important for fast switching speed and low-power consumption in the OFF-state. Nonetheless, prototypes of such nanosheet transistors show non-idealities due to the fabrication process. Closed films on a large area cannot be obtained by mechanical exfoliation from mm-sized crystals. For wafer-level processing, synthetic growth methods are needed. It is a challenge to obtain a few layer thick crystals with large lateral grains or even without grain boundaries with synthetic growth techniques. This requires pre-conditioned monocrystalline substrates, high-temperature deposition, and polymer-assisted transfer to other target substrates after the growth. Such transfer is a source of cracks in the film and degrades the layers' promising properties by residual polymer from the bond material. Apart from transfer, patterning of the stacked 2D layers is necessary to build devices. The patterning of a 2D material itself or another material on top of it is challenging. The integration of the nanosheets into miniaturized devices cannot be done by conventional continuous-wave dry etching techniques due to the absence of etch stop layers and the vulnerability of these thin layers. To eliminate these issues in growth and integration, we explored the deposition methods on wafer-level and low-damage integration schemes. To this end, we studied the growth of MoS2 by a hybrid physical-chemical vapor deposition for which metal layers were deposited and subsequently sulfurized in H2S to obtain large area 2D layers. The impact of sulfurization temperature, time, partial H2S pressure, and H2 addition on the stoichiometry, crystallinity, and roughness were explored. Furthermore, a selective low-temperature deposition and conversion process at 450 °C for WS2 by the precursors WF6, H2S, and Si was considered. Si was used as a reducing agent for WF6 to deposit thin W films and H2S sulfurized this film in situ. The impact of the reducing agent amount, its surface condition, the temperature window, and the necessary time for the conversion of Si into W and W into WS2 were studied. Further quality improvement strategies on the WS2 were implemented by using extra capping layers in combination with annealing. Capping layers such as Ni and Co for metal-induced crystallization were compared to dielectric capping layers. The impact of the metal capping layer and its thickness on the recrystallization was evaluated. The dielectric capping layer's property to suppress sulfur loss under high temperature was explored. The annealings, which were done by rapid thermal annealing and nanosecond laser annealing, were discussed. Eventually, the fabrication of a heterostack with a MoS2 base layer and selectively grown WS2 was studied. Atomic layer etching was identified as attractive technique to remove the solid precursor Si from MoS2 in a layer-by-layer fashion. The in-situ removal of native SiO2 and the impact towards MoS2 was determined. The created patterned Si on MoS2 was then converted into patterned WS2 on MoS2 by the selective WF6/H2S process developed earlier. This procedure offers an attractive, scalable way to enable the fabrication of 2D devices with CMOS-compatible processes and contributes essential progress in the field 2D materials technology.

Abstract: Wall paintings make up an important section of cultural heritage. They resemble time portals that can be used to travel back into the past and witness the life of our ancestors. In these paintings, the ancient artists depicted the different aspects of their life, such as cooking, baking, farming, manufacturing, as well as thoughts and beliefs. Unfortunately, wall paintings are susceptible to degradation over time in the form of the accumulations of dirt and deposits on the painted surfaces and loss of adhesion of the paint layers at the surface. Therefore, the removal of these deposits is one of the primary duties of conservator-restorers. Such operations are intended to restore the painted surface to a condition close enough to its original state. Since cleaning artworks may cause undesirable physicochemical alterations and is nonreversible, the proper cleaning procedure should be adopted. In this regard, numerous gels have been developed and exploited for the cleaning of various artwork surfaces. Lately, polyvinyl alcohol-borax (PVA-B) and agarose (AG) hydrogels have been widely employed as cleaning materials by conservator-restorers. However, both hydrogels have shown limitations in specific cleaning practices. In this work, we investigated a new double network hydrogel based on blending PVA-B and agarose to avoid the limitations posed by the constituting hydrogels. For this reason, a detailed characterization of the PVA–B/AG double network hydrogel was performed, including chemical structure, liquid phase retention, mechanical strength, rheological behavior, and self-healing behavior of various PVA-B/AG hydrogels. These new hydrogels revealed better properties than PVA-B and agarose hydrogels and obviated their limitations. A laboratory experiment on the removal of deteriorated Paraloid® B72 proved that the PVA-B/AG hydrogel loaded 10%/10% MEK/1-PeOH was able to remove these layers efficiently. Therefore, the hydrogel was tested on a wall painting from the Temple of Seti I in Abydos – Egypt. It removed the glossy/darkened consolidant from the wall painting and restored the original matt appearance of the painted surface. In another application on the painted ceiling of the same temple, the hydrogel was tested for removing thick soot layers. The hydrogel formulation (loaded with 5% ammonia, 0.3% ammonium carbonate, and 0.3% EDTA) removed these layers with no noticeable damage to the paint layers. In a wide-scale application of the hydrogel (loaded with 10% propylene carbonate), it removed a highly deteriorated varnish layer from a 19-c wall painting. All the traditional cleaning methods employed caused damage to the paint layers, proving that gel cleaning can be a safer cleaning alternative in some cases.

Abstract: This chapter lays out a conservation timeline, from past to future, for the Amsterdam version of Van Gogh's Sunflowers. It starts by considering the restoration history of the painting in order to assess its current physical state, and looks ahead to formulate an appropriate strategy for future conservation treatment and display. Due attention is paid to the two recorded episodes of restoration performed in 1927 and 1961 by the Dutch restorer, Jan Cornelis Traas. Based on physical and chemical investigation of Sunflowers we attempt to reconstruct what these former treatments (which are barely documented) entailed and consider the repercussions for the present condition of the painting. The former interventions by Traas also serve as a benchmark to reflect on current choices made, highlighting the extent to which ideas and methodologies have continued to evolve over the past century as conservation has moved further away from being a singularly craft-based activity to become an established historical and scientific discipline underpinned by ethical guidelines. Jan Cornelis Traas (1898–1984) As mentioned, the two main recorded interventions to the Amsterdam Sunflowers may be associated with the Dutch restorer, Jan Cornelis Traas, who treated the picture in 1927, close to the start of his career, and again in 1961, shortly before he retired. Traas was the first restorer to be appointed at the Mauritshuis in The Hague where he worked from 1931 to 1962 and treated hundreds of paintings, including iconic masterpieces such as Girl with a Pearl Earring by Johannes Vermeer. Yet despite the magnitude and importance of his restoration oeuvre, J.C. Traas (as he is usually referred to in surviving documents), has remained somewhat obscure. He is shown here in the only known surviving photograph of him at work, shortly before he retired (fig. 7.1). Unlike his illustrious contemporaries, A. Martin de Wild (1899–1969) and Helmut Ruhemann (1891–1973), for example, Traas did not publish anything, he appears to have kept no records of his work and no personal archive is known. However, the study of some newly discovered historical documents, combined with physical examination of Sunflowers and a large number of other works he treated, allows us to recover an idea of his working practices and approaches viewed within the context of his day.