The deteriorating effects of light on museum collections, particularly textiles, watercolors, natural dyes, and the works on papers or paper-based items, have been under full study since the 1950s (Stolow 1987, p 19). The violet regions of the light spectrum as a form of energy which have the potential to cause changes in objects that absorb it. Faced with this fact, museum professionals must deal with the fact that light-sensitive objects have finite display lifetime and must seek to avoid unnecessary light exposure for such material. For example, textile and paper are much more susceptible than others to light damage through photochemical reaction (Fynn 1948; Padfield 1965). The undeniable fact that the ultraviolet portion of light may cause irreversible damage on objects and is responsible for photochemical degradation on objects. Thus, for the most vulnerable paper-based collections, through ultraviolet protection is important to prevent setting of chemical changes in paper that weaken or discolor them.
What materials are susceptible to light damage?.
Papers or paper-based collections consisted of fibres that contain pure cellulose is a remarkably stable material especially those from old rags because the manufacturing technology at that times was still based on few, selected raw materials and hand processes often remains in excellent condition, and consequently not all papers are so stable (Banik & Brackle 2012, p. 220). Papers and paper-based collections that were produced after the mid-nineteenth century, when increasingly complex manufacturing methods and additional materials had been introduced, often present sign of extreme degradation that are usually referred to as aging or can be said in photooxidation of cellulose occurred in the substrate (Schaeffer 2001, p. 56). These types of papers and paper-based collections were made from mechanical wood pulp and other ingredients that tend to compromise the intrinsic stability of cellulose due to a high amount of lignin remain in the pulp.
She, as mediator, the key task is focus on conceiving and guiding exhibitions that shed new light on and lead to a better understanding of particular works, artists, cultures, or historical moments in the history of art, expanding public understanding of the subject and enhancing the quality of the visitor's experience. ...
