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Eliminating and controlling fungal biodeterioration is one of the most important challenges of easel painting conservation. Historically, the pathologies produced by biodeterioration agents had been treated with non-specific products or with biocides specially designed for conservation but risky for human health or the environment due to their toxicity. In recent years, the number of research that studied more respectful solutions for the disinfection of paintings has increased, contributing to society's efforts to achieve the Sustainable Development Goals (SDGs). Here, an overview of the biodeterioration issues of the easel paintings is presented, critically analyzing chemical and eco-sustainable approaches to prevent or eradicate biodeterioration. Concretely, Essential Oils and light radiations are studied in comparison with the most used chemical biocides in the field, including acids, alcohols, and quaternary ammonium salts. This review describes those strategies' biocidal mechanisms, efficiency, and reported applications in vitro assays on plates, mockups, and real scale. Benefits and drawbacks are evaluated, including workability, easel painting material alterations, health risks, and environmental sustainability. This review shows innovative and eco-friendly methods from an easel painting conservation perspective, detecting its challenges and opportunities to develop biocontrol strategies to substitute traditional chemical products. [ABSTRACT FROM AUTHOR]

• Biodeterioration is one of the most frequent afflictions found in deteriorated art • The artwork itself functions as an ecological niche • Fungi and bacteria are prevalent biodeterioration agents of modern materials • Certain treatments may be the answer for the base material but damage the surface • Biological impact does not decrease despite contemporary material incorporation • A model of action was developed for poly-material contemporary art pieces Biodeterioration is one of the most common alteration factors affecting cultural heritage, and its appearance responds to numerous factors. Awareness of the risk it poses to heritage material and the study of its development is essential. With the mass production evolution of widely accessible materials, the criteria for choosing the constituents of a work of art no longer respond to traditional premises, associating the conservation of these new materials with the flawed expectation of longevity and stable resistance to biological attack. This work aims to update the contemporary preventive conservation practice through the review of the biodeterioration risk of indoor poly-material artworks. It also means analyzing the potential incidence of biological agents deteriorating contemporary materials stored in art collections, characterized by their industrial origin, and frequently used in the pieces produced in the current art scene. Due to their characteristic agglomeration of components, the artistic object is subjected to complicated surveillance and problematic biological control and eradication, which can often be contraindicated for some constituents. The study encompasses four main points that make up the risk review analysis sequence: a brief art history exposition to understand poly-material creative values; a general definition of terms surrounding biodeterioration; a selection of most used contemporary materials and a study of their biodeterioration risks; and the basic preventive conservation considerations regarding biological attacks. The review concludes with a critical analysis of the complicated issue of preventive treatment compatibility, as well as a proposed model of action and consideration towards heritage pieces endangered or affected by biological attacks. [Display omitted] [ABSTRACT FROM AUTHOR]

Abstract: Microorganisms have been considered as causative agents of biodeterioration in multiple artworks. In this paper, we argue that microorganisms can be positively used for the cleaning of salt crusts otherwise difficult to remove by traditional restoration methods. We use Pseudomonas stutzeri to efficiently clean wall paintings. The bacteria allow for adequate and homogenous removal of insoluble salt efflorescence without damaging the painted layer. We also make use of a new application support consisting of agar. This new technology has been successfully applied in the biocleaning of eighteen-century murals located in a lunette of the Santos Juanes church in Valencia, Spain. [Copyright &y& Elsevier]