Works on canvas/board
Apart from natural calamities, intrinsic composition and insects, we humans rank highest in causing damage to an artwork. Surprised? Here is a brief look at some of the most likely damage
Handling
- Breakages or tears in the surface, loose or missing parts of the surface or medium, impact related damage, smudges to the medium.
- Stains from contact (including fingerprints), food materials, smoke, cosmetics and other domestic chemicals like cleaners.
- Presence of conditions that foster pests, or other environmental damage like contact with infested objects, poor storage, and exposure to excessive heat, humidity and direct light.
Moving
Whether the move is from one wall to another, or between locations:
- Always consider the best way to remove the artwork and get additional help if required especially for larger pieces
- Prepare the final destination of the move before hand
- Always wear gloves
- Make sure that there is enough space to move around
- Use equipment with care, even seemingly harmless pens
- Ensure that the artwork is properly packed, use quality material
- Use corners to avoid frames from getting damaged
- It is not advisable to leave works packed for too long
Display
Wall
Some basic checks for the display wall
Some basic checks for the display wall
- Ensure that the wall is not damp
- Also check that there is no direct sunlight falling on the wall
Hanging
- There should be some breathing space between the artwork and the wall, this will prevent the accumulation of dirt and moisture. This can be achieved by placing blocks on all four sides
- Ensure that the fittings of the frame are sturdy and will hold for a prolonged period of time
Lighting
The most basic rule with lighting an artwork is to avoid displaying the artwork in direct sunlight. Exposure to strong artificial light for extended period is also not advisable as fixed lights over an artwork may cause localized heating. Lights should be placed a minimum of 10 feet from the artwork to avoid this. The recommended lighting for paintings is 200 lux. Light levels can be measured using a camera's light meter.
Cleaning
Some simple cleaning tips that can be followed at home
Like other objects, artworks will collect dust and dirt over time. Dust can be removed using a very soft brush. Avoid feather and sheep skin dusters as their fibers attach to the surface. Check for flaking paint before dusting, and do not attempt to dust if the surface appears damaged ot unstable. It is also important to clean the verso of the artwork in a similar manner; however the artwork should be removed from display and laid flat on a clean surface to do this. Do not attempt any repair yourself. This is a process that should only be carried out by fully qualified, professional conservators.
Like other objects, artworks will collect dust and dirt over time. Dust can be removed using a very soft brush. Avoid feather and sheep skin dusters as their fibers attach to the surface. Check for flaking paint before dusting, and do not attempt to dust if the surface appears damaged ot unstable. It is also important to clean the verso of the artwork in a similar manner; however the artwork should be removed from display and laid flat on a clean surface to do this. Do not attempt any repair yourself. This is a process that should only be carried out by fully qualified, professional conservators.
Framing
An artwork on canvas comprises of the following
- The support frame on which the canvas is stretched, which is known as the stretcher and usually made of wood. If the canvas is of a larger size then the square stretcher should also have center supports
- The frame around the painting, traditionally made of wood and available in a variety of finishes. However, of late, fiber frames simulating wood finishes are also available. Since they are not of organic material they are less susceptible to attacks from natural elements and pests.
Storage
Environment
A stable storage environment is very important, and fluctuations in temperature and humidity, particularly in the short term, must be minimised. The best environment for the storage of artworks is a cool, dry one with good air circulation. Always seek professional advice for other storage requirements specific to your collection.
Pests
A lot of damage to paintings is caused by pests ranging from beetles and worms to moths and sometimes even rodents. Make sure the space where you store your artworks is free of food sources for such pests. In many cases, the artwork will be the food source itself, and so monitoring the storage is also important. Generally, pests like dark, warm, humid, and undisturbed areas so regular inspection of packed art is a must.
Materials
The materials used to pack artworks for storage can affect their durability. The best materials are inert products that do not deteriorate over time. It is suggested that paintings on canvas be wrapped in unbleached muslin rather than plastic which will also allow the painting to breathe. Make sure to pack your artworks such that both physical damage and exposure to fluctuations of temperature and humidity are minimised.
Causes of Damage
If works of art are cared for correctly then one can minimize the external damage that can be caused to them. Some of the causes of such damage are:
- Direct physical force, such as impact and wear and tear over time
- Fire and excessive heat
- Water damage from dampness, excessive moisture and leaks
- Insects and other pests
- Contaminants, such as smoke and other pollutants
- Radiation from ultraviolet and infra-red light waves
- Neglect
Handling works on paper
Handling
When handling works on paper, you should touch the surface as little as possible. When you have to touch it, keep your fingers away from the image. Works executed in pastel and charcoal require extra care as the medium can easily be smudged, damaging the image. As far as possible, keep works on paper framed with an acid-free mount that will minimise friction and static. Care should also be taken while handling prints, as their paper is easily stained with oils and moisture present in our skin
Display
Wall
Some basic checks for the display wall
Some basic checks for the display wall
- Ensure that the wall is not damp
- Also check that there is no direct sunlight falling on the wall
Hanging
- There should be some breathing space between the artwork and the wall, this will prevent the accumulation of dirt and moisture. This can be achieved by placing blocks on all four sides
- Ensure that the fittings of the frame are sturdy and will hold for a prolonged period of time
Lighting
The most basic rule with lighting an artwork is to avoid displaying the artwork in direct sunlight. Exposure to strong artificial light for extended period is also not advisable as fixed lights over an artwork may cause localized heating. Lights should be placed a minimum of 10 feet from the artwork to avoid this. The recommended lighting for paintings is 50 lux. Light levels can be measured using a camera's light meter.The most basic rule with lighting an artwork is to avoid displaying the artwork in direct sunlight. Exposure to strong artificial light for extended period is also not advisable as fixed lights over an artwork may cause localized heating. Lights should be placed a minimum of 10 feet from the artwork to avoid this. The recommended lighting for paintings is 50 lux. Light levels can be measured using a camera's light meter.
Cleaning
If the paperwork is face with a glass or acrylic sheet, this will need to be cleaned regularly. To do so, spray glass cleaner onto a soft cloth and wipe the sheet with it. Never attempt to clean the paper surface, as the medium can often smudge. Cleaning can be carried out by fully qualified, professional conservators.
Framing
Why do works of art on paper need protection?
Why do works of art on paper need protection?
Paper is highly sensitive to the environment and is adversely affected by light, humidity and temperature changes. Paper also reacts to any material with which it is in contact, including mounts, tape and dust. This kind of damage results in mount burns, foxing (small rust-like brown spots), fading of the medium and an increase in the brittleness of the surface.
Framing a work on paper
The frame comprises:
- A mount that forms a protective boundary around the work and between the work and the glass or acrylic sheet. It is important that the mount is acid free which means it has archival qualities.
- The frame around the mount, traditionally made of wood and available in a variety of finishes. However, of late, fiber frames simulating wood finishes are also available. Since they are not of organic material they are less susceptible to attacks from natural elements and pests.
- A face of acrylic or glass. Acrylic is lighter and works well while displaying larger artworks, but is more prone to scratching. Glass can withstand minor scratches, but it can be heavier and the incidence of breakage is higher, increasing the risk to the artwork itself. Both are available in museum grade, non-reflective varieties.
It is important that works on paper be opened every couple of years to air the artwork, and clean any dust that might have accumulated inside the frame.
Storage
If you are not displaying your works on paper, the best way to store them is in a plan chest (used for architectural drawing and blueprints) or another specially designed case that protects them from humidity, light and dirt. Acid-free and inert folders or portfolios can also be used within such chests or cases, but must always be placed flat or horizontally. If you are storing several works in one drawer or folder, interleave them with acid-free tissue paper or glassine .Normal plastic sleeves are not recommended for storing paperworks. A stable storage environment is very important, and fluctuations in temperature and humidity, particularly in the short term, must be minimised. The best environment for the storage of artworks is a cool, dry one with good air circulation. Always seek professional advice for other storage requirements specific to your collection.
