The conservation of works of art – understood as their proper protection – is an activity as ancient as human creativity itself. For most of art history, however, it was mainly the owners who took care of preserving their works, and they did so in their own way. The first, more professional examples of conservation date back to around the Renaissance. A little over 50 years after the frescoes in the Sistine Chapel were created, their renovation began. And although the scope of activities aimed at conserving works of art has been constantly evolving since then – in the case of painting restoration, we now use X-rays, tomography, and lasers – in some respects, art conservation still faces challenges that were already known in the 19th century.
At that time, the first formal theories on monument protection emerged. The development of scientific methods was accompanied by practice. In the Netherlands, the Dutch Method was invented, which involved gluing an additional canvas soaked in a mixture of natural resin and beeswax to the back of the painting. This method proved to be very effective and quickly became the basic method of protecting works of art from deterioration over time. It was used extensively from the 19th century until the beginning of our century to protect many of the most famous works of art.
However, this solution is not flawless. It comes with side effects, including the fact that the wax resin adhesive penetrates deep into the structure of the painting, leading to a darkening of the original colors. Thousands of priceless works of art, whose colors differ greatly from the originals, await further restoration. However, the residues of wax resin mass are difficult to remove. This usually involves the use of solvents, which may not only damage the painting, but also pose a serious health risk to conservators. A solution to this problem has been developed in the laboratories of the University of Warsaw.
How does the organogel from the University of Warsaw work?
A team led by Prof. Marcin Karbarz from the Faculty of Chemistry at the University of Warsaw, in cooperation with the National Museum in Warsaw, has developed a new agent for restoring paintings – an organogel filled with a special mixture of non- or low-toxic solvents. It is safe for conservators and the environment. As its creators assure us, there is currently no better solution in the world that would allow for the conservation of works of art in such an effective, safe, convenient, and quick way.
Organogel is composed of a synthetic material. It looks like a semi-liquid, transparent material – but it is actually a complex structure containing a natural nano-sized mineral that can be filled with liquid. In this case, it is filled with a special mixture of organic solvents developed by the team of chemists.
“At first glance, it may seem that organogel works in a similar way to a sponge, but this analogy is not entirely accurate. A sponge, which can absorb a significant amount of liquid, can be easily squeezed, thereby removing the liquid it contains. Our organogel, on the other hand, cannot be “squeezed.” Once the material absorbs something, it remains immobilized inside. In other words, the liquid loses its fluidity, making it possible to control the mixture of solvents it contains, which is very important from a conservation point of view,” Prof. Karbarz explains.
Thanks to its unique properties, organogel can safely remove residues of the wax resin adhesive from paintings without leaving any traces on the canvas. During the cleaning process, the wax resin mass is transported to the organogel, and the degree of removal and depth of penetration are controlled by the exposure time and solvent content in its structure. The solution developed at the University of Warsaw stands out thanks to its excellent mechanical properties and flexibility – when deformed, organogel does not break and returns to its original shape. This means that it can be stretched by up to several hundred percent without visible damage. Under slight pressure, it adapts to the shape of the surface, which also helps in the process of cleaning wax from paintings.
How to safely conserve paintings?
The procedure for cleaning a painting of wax and resin residues using organogel is extremely simple. All you need to do is attach a sheet of organogel to the back of the canvas for a few to several dozen minutes. During this time, the material safely dissolves and absorbs the wax and resin residues embedded in the canvas. Scientists at the University of Warsaw have already tested the effectiveness of organogel on selected works of art, including an 18th-century portrait of Empress Catherine II and Włodzimierz Tetmajer’s painting “A Genre Scene in the Countryside.” As it turns out, it works perfectly. Not only has the risk of uncontrolled solvent leakage onto the canvas been minimized, but the entire process has been significantly accelerated and its costs reduced – organogel is reusable.
“In the future, organogel may be widely used not only in the conservation of paintings, but also in the removal of contaminants from various other materials, such as sculptures and textiles. Its effectiveness and non-toxicity may be useful to medical personnel – to maintain the sterility of equipment – or be used in the chemical industry in substance separation processes,” Prof. Karbarz points out.
Apart from helping art conservators, the team has also achieved promising results in cleaning earbuds and removing tree resin from car bodies. Thanks to its unique properties, organogel has the potential to become a versatile tool in various fields, making it a truly promising and valuable invention.
Benefits for everyone
It is not difficult to estimate the enormous market potential of the invention developed by the team led by Prof. Marcin Karbarz. Naturally, the first to show interest in it will be institutions responsible for the restoration of works of art. Once commercialised, we will be able to look at well-known paintings – literally and metaphorically – as if they were “fresh from the artist’s brush.” Art historians will gain a new perspective on classic works, as the original colors will reveal previously unnoticed contrasts and the interplay of light and shadow.
The commercialization of the organogel is ongoing. As of January 2025, the researchers are in talks with funds that could support the product’s market launch. They are also receiving numerous inquiries from conservators and institutions about the possibility of purchasing and testing it. Currently, the Academy of Fine Arts in Kraków and in Warsaw, the National Museum in Poznań, and Nicolaus Copernicus University in Toruń have already started using the invention. The first batch of the material was also produced to order for a private conservation company (Rearte s.c.).
The text was originally published in Polish on the Serwis Naukowy UW website on January 27, 2025.
