This module provides information on the structure, materials, and deterioration of paintings on canvas and rigid supports, and on the basic principles and techniques involved in the care and preservation of paintings. It covers the properties and characteristic defects of the materials used in paintings, the causes of deterioration, preventive conservation measures during storage, display, and transportation, and basic care interventions.
Upon completion of this module, participants will be able to:
Structure and Composition Materials and techniques used in traditional paintings. Characteristic appearances, properties, vulnerabilities, and defects of specific media.
Deterioration Internal and external agents of deterioration. Inherent vice, or the use of materials and techniques that contribute to premature deterioration or ongoing instability. External agents of deterioration including direct physical forces (such as those that occur during handling, framing, transportation, storage, and display), vandalism, fire, pests, contaminants, radiation (light), temperature, and relative humidity.
Handling, Examination, and Documentation Examination techniques using different lighting conditions. Various condition report forms. Safe handling practices. Hands-on sessions.
Preventive Conservation A variety of preventive conservation topics are reviewed, including: light; environmental conditions of relative humidity and temperature; environmental monitoring equipment; handling; storage; display; and wrapping, packing, and transit.
Interventions Basic preventive conservation interventions including dusting of paintings and frames, precautions regarding keying-out, application of backing boards, framing techniques, and minor frame repair. Hands-on practice.
Target Audience Museum and gallery staff, volunteers, curators responsible for the care of paintings, faculty and students of art history or museology, artists, and art teachers.
Facilitator(s) Wendy Baker, Debra Daly Hartin, Helen McKay
Language English, French
Enrollment Limits Minimum 10; maximum 16
Duration 2 days
The workshop area should be secure and inaccessible to gallery visitors or the general public. It is ideal (but not absolutely necessary) if the lecture and workshop areas are separate. The workshop area must have good light and it must be possible to darken the lecture area to permit the viewing of projected images. A list of specific equipment is available.
Customization to provide greater emphasis on certain aspects of preventive conservation over basic interventions is offered. The host institution may take the opportunity to highlight an aspect of their institution or programming such as a new storage facility or an innovative installation.
In combination with this workshop it may be possible to present a 2-hour evening session on the care of paintings (perhaps including a description of a few conservation treatments) or on the permanence of artists' materials and techniques for the general public.
