Fine Art Restoration

Art conservation is an exciting and challenging multidisciplinary field that involves the examination, interpretation, analysis and treatment of cultural, historic and artistic objects. Professional conservators rely on their knowledge of both the humanities and the sciences in order to understand the creation and production of material culture in the past and present and to ensure its preservation for future generations.

The aim of the professional conservator is to stabilize, uncover, reveal and preserve the integrity of the original artwork, through minimal, well-documented treatments. Formal training and high standards of practice inform the conservator’s selection of stable, reversible materials and sensitive treatment methods, adjusted to each specific case.

Preventive conservation, including proper framing, environmental conditions, lighting, storage, handling and transportation are also important concerns. Ethical principles guide the conservator’s work, as detailed in the NZCCM Code of Ethics. This publication may be viewed at:

http://www.nzccm.org.nz/code-of-ethics

Preventative conservation refers to the abating of potential deterioration and damage to a painting through previously designated policies and procedures surrounding the object’s storage and handling. These measures and actions are indirect – they do not interfere with the materials and structures of the items. They do not modify their appearance.

Light, heat, moisture, air pollutants, dust, dirt, insects, physical vibration and impact can lead to slow deterioration of, or sudden damage to, a painting. Paintings in art galleries and museums are kept in conditions which protect them from those things which cause material deterioration.

Temperature/ relative humidity

Temperature and humidity control is an important factor in conserving artwork, as high temperature and humidity level can result in fungi or wrinkling in the art work, and low humidity can produce art works to peel off or crack. The appropriate temperature and humidity setting differs for each art work and material, but generally, a stable temperature between 18-20℃ and humidity level between 50-60% should be kept. (e.g. the Mona Lisa is kept at 19℃ and 55% relative humidity).

Lighting

Light (visible or invisible, natural or artificial, ultra violet and red rays) causes chemical changes in many materials used in paintings.

Ultra violet: yellowing and darkening of varnishes, discolouration of certain pigments, binders/ adhesives/ coating dissociation, varnish whitening.

Ultra red: (temperature increase) deterioration caused by the heat (natural light or halogens)

Make sure to put the lights distant from the painting. Use spots with a light illumination level below 180Lux for oil paintings and below 40 Lux for inks.

Dust, dirt, air pollutants, insects

Dust is composed of minute particles including some hard substances that can scratch paint or varnish if rubbed against the surface of a painting. Some types of dirt, including insect debris, can contain acidic components which eat into the paint surface. Similarly, industrial air pollutants can affect the paint or the finish on a frame. It is important to keep paintings free from dust and dirt and away from air pollutants.

Physical vibration or impact

Many paintings are on stretched canvas which is very susceptible to vibrational forces. Paint loss can eventuate from continual or excessive vibration. Paintings which travel from gallery to gallery are always transported in protective crates with foam padding to reduce vibration from movement and shock. Poor handling can result in severe damage to an artwork. Museums and galleries have guidelines and standards for moving works of art.

Biological factors

Artworks made of organic materials need special care and attention, as the nature of their material makes them highly susceptible to damages from microorganism (insects, fungus). Make sure your painting is avoiding dust and humidity.