This module provides basic information on the materials, techniques, and deterioration of paintings and works of art on paper typically found in private homes. The properties and characteristic defects of the materials, the causes of deterioration, preventive conservation measures for storage and display, and basic care interventions are all covered. Instruction in handling and examining works of art, assessing their condition, basic cleaning procedures, minor tear repair, matting, hinging, and proper framing methods is also included.
Upon completion of this module, participants will be able to:
Composition and Identification Description of paper and how it is made, and significant dates in the history of papermaking. Comparison of the characteristics of various types of paper. Basic information relating to different artists' materials and techniques. Characteristic defects and signs of instability.
Agents of Deterioration Deterioration of cellulose through acid-catalysed hydrolysis and oxidation, and how this affects the longevity of paper. Inherent agents of deterioration in the paper manufacturing process. Materials and techniques that contribute to premature deterioration or ongoing instability in works of art. External agents of deterioration found in the home environment.
Handling and Examination Proper handling procedures. Safe examination techniques using different lighting conditions. Safe handling practices. Hands-on sessions.
Preventive Conservation Information and procedures covering preventive conservation topics applicable to the home environment such as light, environmental conditions, maintenance, storage, and display.
Interventions Basic preventive conservation interventions for paintings (dusting, application of backing boards, framing techniques, and minor frame repair) and works of art on paper (surface cleaning, making wheat starch paste, minor tear repair, matting, and hinging). Hands-on sessions.
Target Audience Museum members, volunteers of galleries and museums (i.e. "Friends of the Gallery"), faculty and students of art history, artists, art teachers, and members of the general public who have personal collections, periodic involvement with handling paintings, or who work in commercial galleries or framing shops.
Facilitator(s) Sherry Guild, Debra Daly Hartin
Language English
Enrollment Limits Minimum 10; maximum 16
Duration 2 days
The host facility must be able to receive and accommodate a large crate of workshop materials and supplies. The workshop area should be secure and inaccessible to gallery visitors and the general public. It is ideal (but not absolutely necessary) if 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 slides. A list of specific equipment is available.
The workshop concentrates on the delivery of material from Units 1, 2, 3, and 5. Participants can also be given the opportunity to bring in small paintings for examination by the conservator to obtain information on the condition and conservation needs of the object.
Basic information without hands-on sessions can also be delivered in an evening slide lecture for a larger, different audience. A 2-hour evening lecture might cover caring for works of art, an introduction to the treatment of paintings or works of art on paper in a conservation laboratory, or the permanence of artists' materials and techniques. Such a lecture could be combined with the opportunity for members of the audience to bring in small works for examination.
