Detail of a Picasso requiring treatment to consolidate cracking
People often mistakenly believe that conservation and restoration is much the same thing but this is not the case.
Conservation denotes the maintenance and preservation of works of art and their protection from future damage and deterioration. This may involve anything from ensuring that the painting is property hung or framed; consolidation of loose or flaking paint; or loosening a jammed cradle to allow a wooden panel to move freely. At the most fundamental level, the atmospheric conditions in which the painting is kept, must be controlled. Fluctuating or incorrect humidity can cause significant damage. Both wood and linen absorb moisture and expand, and as they dry out they contract, which affects the adhesion of the paint to the support. This causes cracks and flaking; in severe cases the paint layer can be lost. It is particularly important to monitor the amount of light to
which the painting is exposed.
Ultra violet light is detrimental to most colours and will cause fading, yellowing and darkening of varnish layers, in some cases, within days.
Restoration involves the repair or renovation of artworks that have already sustained injury or decay. The aim is to return the piece as near to its original appearance as possible. Therefore, a large amount of research is carried out on the piece before we begin. Restoration regularly includes the removal of discoloured old varnishes and overpaint. Problems such as ripped or degraded canvas, flood or fire damage come up among work regularly carried out in the studio. The process of restoration is not only an exciting part of the business but often a very rewarding one too.
Stages of restoration, from left to right:
- A sixteenth century canvas undergoing cleaning tests. The cotton swab illustrates the amount of dirt being removed.
- Halfway through the removal of old discoloured varnish.
- Retouching being carried out to a painting
