 |
| | Photograph by Glenn Castellano. From the
collection of the Public Design Commission
of the City of New York.
|
Conservation: A Careful Course Between Our History and Our Future
Many of the portraits in this collection have been hanging in City Hall for more than 200 years—silent spectators in the daily working environment of this historic building. Through careful evaluation, conservation and documentation, these works will have a longer life and can be seen and enjoyed in a state that is closer to the artists’ original intentions.
The images to the right show two details of the portrait of Andrew Jackson (1823) by John Vanderlyn. The left-side image shows the portrait before treatment, with heavy dirt films and yellowed varnish. The right-side image shows the portrait after treatment, revealing more of the artist's original palette. The moment a painting is created and leaves the artist’s studio a natural aging process begins: canvas becomes dry, paint cracks, varnish discolors and the appearance and condition of the work change. Unfortunately, human intervention also plays a part in changing the condition of the painting, as
accidents may happen that cause damage
to the work.
The conservation process, grounded in a strong knowledge of the history of painting and methods and materials of the time, is a collaborative effort between historian and conservator. Before the conservation treatment begins, the conservator, working closely with the art historian, determines what treatment will most appropriately reveal the artwork’s history, the story the work has to tell, and the artist’s original intent.
The conservator records and documents the condition of the artwork and proposes a treatment plan. In order to assess the painting’s present condition, the conservator takes a very close look at the painting. Using microscopes, ultraviolet or infrared light, x-radiographs, and other examination tools, the conservator, with experience, can assess the state of the original and identify damages, deterioration and additional layers. This process allows the conservator to record the condition of the work, identify condition changes, and distinguish the original painting from later additions not applied by the artist.
The first step in the conservation treatment is the stabilization of the work. The conservator consolidates weak areas, such as flaking paint or tears in the canvas, mending them with appropriate adhesives.
 |
| | The portrait of James Kent by Rembrandt Peale in the
conservator's studio. In the forefront are some of the conservator's
tools. Photograph by Glenn Castellano. From the collection of the Public
Design Commission
of the City of New York.
|
Once the painting is structurally stable, the conservator determines which of the top surface films should or can be safely removed to reveal the artist’s original intent. Dirt levels, which have accumulated over years, and sometimes restoration varnishes and paint layers may be removed.
There may be areas in the painting where canvas, paint or other layers are missing. Called “loss,” this may be due to flaking, cracking or physical damage to the surface. These losses can be compensated for, or filled, during the final stages of treatment. This compensation process is called “inpainting.” Only losses are filled and painted; original paint is not covered. Depending on the condition of the painting, a new varnish may be applied. At the end of the treatment, the painting is safely replaced in its frame and installed in a safe environment for presentation and long-term preservation.
During treatment, the preservation of the original is paramount. Throughout the entire conservation process, the conservator strives to use materials that are stable, easily distinguishable from the original and reversible without damaging the original. Aided by good documentation of the treatment, future conservators will be able to fully understand the condition and history of the work and ascertain the best ways to further preserve the work.
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