Physiology of biodeterioration on canvas paintings

The study of the physiological action of microorganisms in artistic materials is one of the most interesting topics in biodeterioration nowadays. Pathologies and illnesses of organic and inorganic materials provoked by microorganisms can be treated by experts by a variety of preventive interventions. Artistic medicine encompasses the monitoring of the exhibition and storage of art, as well as proper environmental conditions and the regular cleaning of museums. Biodeterioration control is essential in order to prevent fungal and bacterial contamination in artwork. Biodeterioration of canvas paintings is a complex phenomenon, not well‐known at the moment. Canvas paintings are created by several artistic techniques on textile supports that are not always kept in the best conditions, and the best parameters of preventive conservation are often not applied. Therefore, we need to research the agents and the main causes that provoke canvas painting biodeterioration. By applying new methodologies, we can identify the alterations and the treatments needed in order to manage the diverse materials employed in artwork correctly. Herein, we review the causes of biodeterioration that affect artwork, especially art created on textile supports. We also study the alterations of the natural filmogenic materials employed in traditional pictorial techniques, such as agglutinants and protection layers, and the biodeterioration agents that impact them. Additionally, we review current scientific methods employed for the identification of microbial species, and the types of alterations of the materials where the organisms grow. Finally, we summarize the different biocides and preventive conservation treatments that are currently employed. The study of the physiological action of microorganisms in artistic materials is one of the most interesting topics in biodeterioration nowadays. Canvas paintings are created by several artistic techniques on textile supports that are not always kept in the best conditions, and the best parameters of preventive conservation are often not applied. By applying new methodologies we can identify the alterations (Figure 1) and the treatments needed in order to manage the diverse materials employed in artwork correctly.