Go with the Glow: An Investigation into a 1960s Art Object with Phosphorescent Paint and its Treatment Possibilities

This paper discusses phosphorescent or ‘glow in the dark’ paint and its problems, charac- teristics and treatment possibilities, while using an artwork without title (1968, RMT, En- schede) by IMI Giese as case study. To understand the problems that can occur with this little examined material, it is crucial to know how phosphorescence works and what the composition and properties of different phosphorescent pigments are. The conservation challenges for this specific artwork are mostly due to the properties and composition of the paint: the lacunas for instance are a direct effect of the stickiness of the paint layer. The challenging search began for a phosphorescent retouching paint with an identical daylight colour and an afterglow with a similar colour, intensity, and duration as the original Wiedolux paint. Since all readily available phosphorescent paints and pigments did not match the properties of the original paint layer, it was necessary to manipulate self- made phosphorescent paints. The ways of manipulation have been tested through visual and technical analysis. This study provides insight into the results of the test sequences and offers useful information about the way conservators can adjust the properties of a phos- phorescent retouching material to suit their needs.