Conservation is defined as remedial attention given to extend the life of a
work of art. The process often reconstitutes missing material by additions.
These additions may be either visible or invisible and serve to restore the
work's unity.
One of the most noticeable defects the public observes on a painted surface
is craquelure. Craquelure appears as a minute crazing pattern on a
painting's surface. The following layers make up a painting:
1. Stretcher bars are covered by a canvas support
2. Canvas is coated with a sizing medium
3. Gesso (a ground layer) is applied over the sizing medium
4. Paint is layered over the sizing medium
5. Varnish is capped over all these layers
Ideally all these layers dry uniformly. When the harmony of these layers is
disrupted, a problem results, requiring conservation. For instance, as the
different layers absorb and release moisture, expansion and contraction take
place. As the materials age, the ongoing process of change can take its
toll. Vibrations when art is transported can be harmful to one or more
layers, even though temperature and humidity are controlled.
Returning to craquelure, it is understandable
that the canvas has responds to a change in climactic conditions by
either shrinking or swelling. The amount of stress might differ from
the ground or paint layer. As these materials react to change
differently, they result first in craquelure and finally become
cleavage. Cleavage is the paint layer lifting from the canvas.
When craquelure appears as a function of age, it is generally left
untouched, provided the painting is still legible. Should this
condition become cleavage, a professional conservator must be
consulted.
Another easily noticed problem is a slackening of the canvas,
producing more "play" than was originally intended. Examine the
stretcher bars. If all the corners are fixed by glue or nails and
cannot be adjusted mechanically, your painting is attached to
strainer bars, not stretcher bars. Stretcher bars have keys (wedges
of wood that permit adjusting of the bars) or sophisticated metal
elements that allow for adjustments. A canvas left for many years on
strainer bars could rip once the canvas becomes brittle.
Yellowing or darkening varnish is another readily recognizable
issue. About every 25 years, review canvases for a re-application of
varnish. First the original varnish must be removed by a
professional conservator.
Frequently-Asked Questions
How do I find a good conservator? American
Institute of Conservation in Washington, DC 202 452-9545 is one
source of competent people. Call your local large museums for
recommendations as well as art appraisers in your area.
What can I expect from a conservator? It is customary for you to be
provided
a) Estimated cost of treatment
b) Estimated time to complete the treatment
c) Conservator's steps to complete treatment
d) Anticipated result from the treatment (identification of what is
possible to remedy and to what degree)
How are the fees assessed? Conservators guestimate the number of
hours needed to complete the work (based on their past experience).
Word of caution: Find out if your conservator has insurance and if
so, how much and what are the limitations of their coverage. If they
do not, call your insurance company to find out their position on
insuring your property while it is in the hands of a conservator.
By Corinne Cain is the principal of Corinne
Cain, Ltd, a nationally recognized firm affording expert appraisal
and consulting services on Fine Art and Native American Art. Her
background includes an MFA and MBA from Southern Methodist
University. Ms. Cain is also the proprietor of
http://Savvycollector.com, a
nationally known secondary art market dealer.
