this page discusses the deterioration of paintings and the tasks of paintings conservators
deterioration and damage
materials change: they keep on aging and deteriorating. paintings and statues can be prone to:
1. physical deterioration includes the cracking and flaking of paint;
2. chemical deterioration is typically manifested by the darkening and yellowing of colours; and
3. biological deterioration that can, for example, weaken the painting's wooden frames and canvas support.
having said that deterioration is an unstoppable process, it is also important to add that paintings can deteriorate very slowly. in fact, one can still admire a great number of canvas paintings that have proudly survived many centuries in art museums, churches and private residences. but other paintings were far less lucky because paintings can also suffer extensive deterioration even within a few months, days or hours.
the type of deterioration (and deterioration rate) as well as damage depend on the following 6 major factors:
1. how a painting was made by its artist, including the choice of materials. contemporary paintings, for example, may include commercial household paints that are prone to fast deterioration;
2. the adequacy of where and how a painting is exhibited/stored (apart from deterioration, this factor includes the risk of damage - such as vandalism due to lack of security);
3. the frequency of checking both sides of a painting for early signs of deterioration;
4. the frequency and adequacy of maintenance - such as dusting;
5. the frequency and adequacy of handling and transporting a painting (this factor includes a high risk of damage);
6. if the painting was adequately treated in the past by restorers.
the tasks of a conservator 1. ANALYSIS. paintings are patients that need to be examined very carefully. once visiting a painting in its storage/exhibiting environment, it is possible to check the condition of a painting and for early signs of deterioration. it is also possible to take a very close look at the place where the painting is kept to verify if the painting is in a safe environment. potential risks - such as direct sunlight, humid walls, and the presence of insects that can damage paintings - can be noted and the conservator will be in a position to provide advice on how to isolate paintings from their environmental risks to prolong the paintings' lifetime. refer to preventive conservation. when deterioration is noted, conservators need to identify the type of deterioration, determine the extent of deterioration, and investigate what caused such deterioration. every little detail counts because, unlike human patients, paintings can not describe how they got injured. in order to better understand why and how a painting deteriorated, it is important to analyse how the painting was done by the artist and the materials the artist chose for the particular painting. various scientific techniques and equipment can be employed for the analysis of paintings.
2. DOCUMENTATION. the conservator's observations, including the results of the analysis, are then compiled in a conservation report that includes photographic evidence. the conservation report of a painting usually includes three main sections: (1) the painting's manufacturing technique; (2) the evidence of the painting's past restoration treatments (if any); and (3) discussion and justification of all treatments carried-out on the painting. the conservation report is considered as a must in modern conservation practices because the report can provide information for future reference. such information will greatly valued by future conservators who will have to intervene again on the same painting (today, conservators face numerous challenges when conserving paintings because the conservators/restorers who previously intervened on the same painting did not always compile a report stating what they did and which materials they have used). but conservation reports are also valuable to owners of paintings because they can have the opportunity to know what was done to their painting and learn more about it. the same can be said to art historians who can consult the report in order to help them in confirming the authenticity of a painting (i.e: to verify the date/period of a painting and its artist).
3. PREVENTIVE CONSERVATION. everyone is aware that prevention is better than cure. as already stated, examining paintings on a regular basis for early signs of damage can make a big difference. and regular maintenance, like dusting painting delicately with a dry soft brush can do miracles. it is observed that, in most cases, paintings get damaged because they were kept in inadequate environments - such as when paintings are kept close to heaters or air conditioning units. owners of paintings can follow basic guidelines that can improve the environment of paintings and extend their lifetime. view the caring for canvas paintings document in the publications page. when in doubt and if deterioration is noted, contact a qualified paintings conservator as soon as possible to prevent further damage.
a more, in depth assessment of an environment can be done by conservators and conservation scientists. monitoring equipment may be used to pinpoint the exact causes of deterioration and find means of improving an environment (figure 7 and 8). read more...
4. CONSERVATION TREATMENT - interventive conservation.
interventions can rescue damaged paintings. but there is always the chance of causing further damage during treatment. this is what increases the heart rate of conservators and what drives them to be extra careful. treatments may not work as planned. the most adequate treatment should be also chosen for each painting because each painting is unique in the way it was made and in the way it deteriorated over the years. paintings are valuable and irreplaceable. a painting can not be replaced if something goes wrong. as a result, the conservator works following modern conservation ethics by opting for the least possible interventions and by choosing conservation materials that can be removed with ease (when necessary) without compromising the painting. in addition, treatments should be done using the most stable materials approved for conservation use. conservators are responsible of researching conservation literature to keep themselves updated with the latest techniques and materials.
after treatment, when the painting is returned to its owner, the conservator should find means of limiting the painting from undergoing the same deterioration it already experienced. if, for example, it is observed that the paint of a canvas painting flaked because it absorbed water, the conservator has to inform the painting's owner and ensure that the painting will be kept close to sources of water - such as near leaky water pipes, open windows or in rooms having a faulty roof that permits the infiltration of rainwater.
for further information or if you have any query, please contact the author. |  figure 1 paint cracks, detachment and losses
 figure 2 a microscopic view of a 'Biscuit Beetle' larva eating its way through the canvas support of a painting
 figure 3 detailed view of a vandalised painting
 figure 4 typical anatomy of a canvas painting  figure 5 inspecting a canvas painting with an optical microscope
 figure 6 photographing a detail of a painting in raking light to document the surface deformations and texture, including paint detachments
 figure 9 during cleaning: the right hand part of the painting's back has been cleaned from dust and unwanted chalk inscriptions
 figure 10 re-adhering detached paint with a consolidant and gentle application of heat and pressure with a conservation heated spatula
figure 11 cleaning a painting with chemical solvents
 figure 13 during removal of old, discoloured varnish
 figure 15 during removal of old discoloured varnish and retouching applied during past restoration interventions  figure 12 during removal of old, discoloured varnish
 figure 14 during removal of old discoloured varnish and discoloured retouching applied during past restoration interventions
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