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Paintings
are fragile and changes are to be expected. Many changes do
not threaten
the stability of a painting and are not considered damage. Physical
damage is the most common form of damage to an oil painting.
Abrasions and dent-like impressions, tears, holes or
punctures in a
canvas support can be caused by poor storage or handling, household
accidents
and natural disasters. Prolonged exposure to
extremes of dryness, humidity, heat or cold with
little air flow will make a painting susceptible to structural damage.
Interventive conservation refers to the direct interaction between the conservator and the cultural material. This includes cleaning, stabilizing, repair, or even replacement of parts of the original object. These kinds of interventive conservation treatments take place in our studio which is a modern, well equipped work area. Each treatment is done by highly trained and experienced individuals committed to preserving each artist’s vision by treating the physical object to insure its long term preservation while staying true to the artist’s original intent; the aesthetic and appearance that the original artist desired.
The treatment of each artwork is based on a thorough assessment of its condition and a well thought out treatment plan. Treatments range from simple grime removal and re-varnishing the painted surface to a complete aesthetic and structural treatment including the removal of grime and discolored varnish, reversal of old, poorly done and crude restorations, tear repairs, adhesive consolidation of insecure areas of the paint layer, and reinforcement of the original fabric support as well as filling and inpainting losses and application of new varnish.
Interventive conservation refers to the direct interaction between the conservator and the cultural material. This includes cleaning, stabilizing, repair, or even replacement of parts of the original object. These kinds of interventive conservation treatments take place in our studio which is a modern, well equipped work area. Each treatment is done by highly trained and experienced individuals committed to preserving each artist’s vision by treating the physical object to insure its long term preservation while staying true to the artist’s original intent; the aesthetic and appearance that the original artist desired.
The treatment of each artwork is based on a thorough assessment of its condition and a well thought out treatment plan. Treatments range from simple grime removal and re-varnishing the painted surface to a complete aesthetic and structural treatment including the removal of grime and discolored varnish, reversal of old, poorly done and crude restorations, tear repairs, adhesive consolidation of insecure areas of the paint layer, and reinforcement of the original fabric support as well as filling and inpainting losses and application of new varnish.
Treatment
Gallery
The Monk:This
painting was in poor condition. The surface
was covered with an accumulation of significant
grime. There
was extreme tenting and associated
flake loss caused by the shrinking of the canvas with exposure to
humidity
fluctuations.
A raking light was used to create shadows, emphasizing lifted paint and other deformations.
Once the painting was stabilized, the grime could be removed.
Once the grime was removed, the losses were filled and primed for inpainting.
A raking light was used, this time, to emphasize that the conservation treatment was successful both visibly and structurally.
The
painting was removed from its stretcher. Cracks, flakes,
tenting were relaxed consolidated. Then the
painting was lined and restretched onto its original
stretcher. Once the grime was removed, the losses
were
filled and inpainted.
Gloria:
The painting was damaged
in a fire. The painting surface was protected by a
moderately thick natural resin varnish, which was scorched by heat
and
severely discolored to brown and black.
Due to extreme heat, there was extensive flaking and losses of paint
around the
edges.
The painting surface is a moderately thick varnish, which was scorched by heat.
The varnish had to be reduced from the surface of the painting.
Losses and irregularities were inpainted
After Treatment
The
severely scorched varnish
coating was reduced from the
surface and the soot on the reverse of the painting was
removed. The flaking paint was consolidated. Minor
losses of the paint film were filled.
Losses and irregularities were inpainted, using a referential aid of a
pre-fire
damage photograph provided by the owner.
Evangeline:
This pastel painting fell from a wall, causing a
large cross-shaped tear along with numerous scratches and gouges.
Before Treatment
A raking light was used to emphasize the poor condition of the fabric and surface.
A transmitted light was used to highlight the tear as well as the associated cracks and tears.
Once mended, the tear was relaxed and primed for inpainting.
After Treatment Detail
The
tear was mended and relaxed using a special technique. The
surface
plane was locally relaxed. Losses were filled and
inpainted. A custom backing was constructed and fixed to
the reverse in order to assist in the future stabilization of the
painting.
Harbor
Scene:There were significant
tears
in
the canvas as well as planar
distortions, fraying and flake loss attending the
tears.
Fabric patches were adhered over old
damages on the reverse side. The
varnish layer discolored to yellow and there was a significant
amount of
grime and overpaint.
A Before Treatment detail was taken to show the severity of the tear and the associated flake loss.
Once the tears were mended, linen inserts were attached. The losses were then filled and primed for inpainting.
After Treatment detail
The
loose, lifting and flaking paint attending the tears was
locally consolidated. The old patches
were removed from the reverse. The grime as
well as
overpaint was removed from the surface of the painting. The
tears were mended and linen inserts
attached. The losses were filled and
inpainted.