restauration and conservation
conservation of a painting
the intake of a painting
In restoration studio Marjan de Visser, every restoration of a painting starts with a personal conversation with the owner. Of course the owner knows a lot about his painting. That is why this personal conversation is so important. The restorer then explains what she sees in the painting. But also what she hears and smells. For example, a canvas painting sounds hard and hollow. And a smoked painting smells like nicotine. A small test may follow after this interview. This is to show the dirt or varnish. Naturally, Marjan de Visser takes all the time for this conversation. Usually with a cup of tea or coffee!
plan of action
Then when the customer decides to restore his painting… the collection form follows. The painting ends up in the chest of drawers. The treatment plan is the first step. Photography from the front and back. Daylight and UV fluorescence. Infrared if necessary. Usually the conservator also takes digital microscope photos. Then the tests are carried out.
The conservator studies the painting on the front and back in daylight and UV fluorescence. And preferably also under the microscope. In doing so, the conservator certainly also examines the construction and the support. What is the painting painted on? Is this on a linen or on a panel. Possibly even on a different material. what paint did the painter use. Was this oil paint, acrylic paint or perhaps casein. Quite often a painting is provided with a layer of varnish. Of course, the restoration history is important. Because often a painting has been treated before. For example, sufficient information has been collected to draw up a treatment plan.
the conservator photographs the painting
In daylight, grazing light, UV light and with (digital) microscopy.
cleaning tests and varnish removal tests
when restoring a painting, consider:
- When restoring paintings, think of the gaps in the paint layer. A filler on structure makes it complete again. The retouch is the finishing touch. The filler is homemade specifically for each painting.
- Restoring paintings also includes repairing tears in the linen. This can be done by stabilizing the crack with ‘der Trecker’. Another option is to weld the wires with the hot needle. Sometimes it is also possible to suture the tear with a surgical needle and thread .
- When restoring paintings, bedding is sometimes the right choice to save the artwork. An option is to cover the painting with cold doubling technique under low vacuum. A doubled cloth has been pre-treated with a glue – Mistlining . During the process, the adhesive was reactivated with a solvent and the adhesion between both cloths is established.
- When restoring paintings, the last action is often varnishing. When applying varnishes, the conservator chooses from a large amount of (self-made) stable synthetic varnishes with the addition of UV filter.
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Jacob Por painted this ceiling mural on the barrel vault of Agathakerk (Agathatsjerke) in Oudega in 1922. It was a time when the Ploeg painters traveled through the Groninger countryside and painted their colorful expressionist paintings around Blauwborgje. It was