The Autumn will forever feel like the start of a new year for me. I think a lot of people feel the same way, but I’m certainly feeling very much like sharpening my pencils, putting on some new shoes and buckling down at the moment. I’ve even written myself a timetable for the next few weeks to ensure I get everything done before the start of a big project later in the month, which will involve some studio work and some on-site work. It’ll be nice to be on-site for a change, as working in my studio is a rather solitary pursuit. I’m going to be carrying out some minor remedial conservation work on a number paintings affected by a flood. I’ll share more about this once the project is underway.
I’m also going on a week-long course soon, learning how to more effectively and safely clean modern paintings. It’s really important for me to keep up to date with recent developments in conservation to ensure that I am doing the best for the paintings that come through my studio. The prospect of spending a whole week with a group of other conservators is both exciting and a bit daunting, since I’ve not done anything quite like it since I finished training. I’ve got loads of reading to do in preparation. I think it might tell you something about the kind of student I was that I’m writing a blog post rather than actually doing the reading… I’d better get to it!
via Daily Prompt: Patina
I was surprised to see the word ‘patina’ appear as a Daily Prompt today. It’s a very ‘conservation’ sort of a word and one that is pretty loaded. It refers to the quality that something acquires as it ages, a sort of ‘lived in’, mellow look. When that’s an oil painting it means dusty and yellow. One of the major criticisms of conservation is that we strip away patina when we clean pictures or other works of art, and take with it something that made the work of art feel more special or authentic. As I’ve previously talked about, one of the best ways to ensure that you’re not taking off something you shouldn’t is to work in a controlled way tackling surface coatings in layers rather than all at once.
My own criteria for deciding whether or not to remove a coating, and I’m sure I’m not alone, depends very much on originality. If a varnish is present that I believe to be original, which is rare, especially in museum collections, then my default position is to leave it where it is. There are a number of things that might alert you to an original varnish including the known history of the object and uneven or selective varnish application. It’s important to consider whether or not a varnish has been applied by the artist as if that is the case it has likely been applied closer to the time that the painting was finished, so may have bonded with the fresh paint beneath, making the distinction between paint layer and varnish layer blurry. The artist may also have decided to add finishing touches on top. Turner was renowned for varnishing his pictures before the paint was dry. There has also been much discussion about how much artists may have anticipated and hoped for the effects of age on their varnishes.
Dirt, for me, is less of a problem. Unless there was some kind of hugely important event that caused the dirt, it’s not usually considered to be significant to the history of the object. One item that I can think of that would fit into this category is Jackie Kennedy’s outfit worn in Dallas on the day of her husband’s assassination, which is in the collection of America’s National Archive still gruesomely soiled. It would obviously be entirely inappropriate to clean the suit but it’s significance also renders it undisplayable. Thankfully the dirt on paintings is usually far more innocuous but if left on the surface it robs the picture of depth and vibrancy, eventually making the paintings illegible and unfit for display.
There’s been a bit of rumpus on social media this week after the Philip Mould Gallery posted a video on Twitter of a painting being cleaned. The intention of the video was to say “look at this amazing person doing something really dramatic with this filthy old painting” and the conservator carrying out the treatment is experienced and, I understand, accredited but many conservators across the world feel that the treatment as shown doesn’t accurately portray the knowledge, experience and delicacy required when attempting such a task. I don’t generally like to pass judgement on a fellow conservator’s work but the, shall we say, ‘casual’ approach of the conservator did make me wince. I don’t know what he was using, it was some kind of gel, or what safety margin tests he’d carried out, but the manner in which he was using it, allowing it to dribble down onto already cleaned areas, seemed to me to be less than ideal.
Cleaning pictures is fraught with difficulty. Modern conservators hold the principle of reversibility sacrosanct, which is great when you’re putting something on but completely redundant when you’re taking something off and therein lies a problem. The original cleaning controversy was conducted through letters to the Burlington Magazine about the conservation of paintings at the National Gallery in London. Today there is a group called ArtWatch, which likes to watch out for any painting that has been ‘over-cleaned’ and show up at conservation conferences to grill the speakers. A book on the required reading of my training course called ‘The Ravished Image’ also addresses the problem of over-cleaning. Taking away layers of varnish using solvents and other cleaning agents is a delicate task and one that should not be undertaken lightly. The only way for conservators to protect themselves from allegations of improper treatment is to treat every picture with the same standard of care and ethical consideration and to rigorously document treatments and explain in the documentation the rationale behind decisions.
In the past, and possibly still today in some practices, there was a tendency to go straight for varnish removal to solve the problem of a discoloured and obscuring surface but this is not usually done any more. It is my practice to try to remove surface coatings in layers, starting with the dust and dirt (shown in the image at the top). This allows for a more controlled treatment, often requiring less mechanical action (scrubbing) than if you’re trying to take off everything at once. It also allows you to monitor the necessity of further treatment. There have been times when I’ve expected to have to do a full varnish removal treatment to make the picture legible only to find that once the dirt has been taken off the picture looks great and doesn’t need any further treatment. On other occasions the dirt has been masking a badly degraded varnish that really needs to be remedied.
I said near the top that I don’t like to pass judgement about colleagues in the field and that is because I’m acutely aware that we are all, usually with the best of intentions and current knowledge, carrying out sometimes irreversible treatments to precious objects that may in the future be derided as ignorant, barbaric and destructive. I hope not. But as long as there is someone cleaning pictures there will be someone criticising them.