TAG: Conservation

Canaletto - Frame Conservation
Blog: Conservation

Canaletto - Frame Conservation

Part 12 of Conserving a Canaletto

Also part of the TEFAF was the conservation of the painting’s frame. The frame is "period," meaning stylistically it is of similar age as that of the painting, but not original to our Canaletto. This is not surprising since frames, historically, were not really perceived as works of art themselves and, indeed, the idea of placing a higher value on the “package” of both the painting and its original frame is a relatively new concept. Our frame is constructed of wood with hand-carved elements originally gilded using water and oil gilding techniques. More

Science at the Museum: Analyzing a Fifteenth Century Inca Corn Stalk, Part 1 of 2
Blog: Conservation

Science at the Museum: Analyzing a Fifteenth Century Inca Corn Stalk, Part 1 of 2

The New World department has a comprehensive display of pre-Columbian artifacts from Central, Meso-, and South America located in the Lila Wallace-Reader’s Digest Study Gallery of Pre-Columbian Art on Level 4 of the North Building. Objects in this space are made of clay (ceramics), metals, wood, and stone and served a utilitarian, decorative and religious/spiritual purpose. Often, all three functions were rolled into one. More

The Cosmetic Phase
Blog: Conservation

The Cosmetic Phase

Part 11 of Conserving a Canaletto

The idea of reversibility is a very important concept in modern conservation practice. I chose materials with good and known aging characteristics, understanding that my work may need to be removed and/or redone, in the future. It is important that my conservation treatments are reversible. I know that the adhesive I chose to bond the original and lining canvases could be separated in the future and will not cause further harm to the artwork. More

Lining the Painting
Blog: Conservation

Lining the Painting

Part 10 of Conserving a Canaletto

Now that I’ve reduced the distracting bumps caused by the previous lining adhesive, I must now re-line the picture to another auxiliary canvas support. I was hoping not to have to re-line the picture, but it was not possible to locally mend the tear since the fibers along the tear edges were too frayed and weak. More

Beginning the Structural Work
Blog: Conservation

Beginning the Structural Work

Part 9 of Conserving a Canaletto

It’s now time to move onto the structural phase of the conservation treatment for the Canaletto work. Structural work entails further securing of any loose media, such as paint or ground, and any repairs if necessary to the canvas and stretcher. Our Canaletto was lined in the past, which means that the original canvas was adhered to a secondary canvas. There are a variety of reasons historically why paintings were lined, but in the case of the Canaletto it was most likely due to the tear in the original canvas. More

Cleaning Complete
Blog: Conservation

Cleaning Complete

Part 8 of Conserving a Canaletto

After many hours and consultations with Timothy, cleaning is complete. I am always amazed at how much more one sees of a picture once the discolored varnish is removed—subtle details in the composition become visible and the picture's overall sense of depth is enhanced. More

Turret We Discovered Has Us Wondering
Blog: Conservation

Turret We Discovered Has Us Wondering

Part 7 of Conserving a Canaletto

I’ve been cleaning the Canaletto, taking my Q-tips to the surface and gently removing all of the restorer-applied discolored varnish and overpaint. Upon removal of some overpaint, an area discussed in our earlier video post, I discovered a turret, or tower. This is a pretty exciting discovery. More

Considerations in Our Cleaning Decisions
Blog: Conservation

Considerations in Our Cleaning Decisions

Part 6 of Conserving a Canaletto

It's likely you have a photograph, painting, illustrated card, or drawing that just doesn't look the same as it did when you first brought it home. Heck, you probably have a shirt that isn't as bright as it once was and maybe there's a stain or two on it reminding you of a not-so-graceful moment. The world is a tough place and the effects of temperature, light, water/humidity, and other humans mark us and our things without fail. More

Cleaning Decisions Videos
Blog: Conservation

Cleaning Decisions Videos

Part 5 of Conserving a Canaletto

Now that the painting has gotten a thorough check-up and health assessment by the curatorial and conservation teams, it is time to decide how best to treat it. More

A Look Inside the Textile Conservation Process
Blog: Conservation

A Look Inside the Textile Conservation Process

In the beginning of the summer, I began working at the DAM. Since then, I have been reviewing objects selected for upcoming textile art exhibitions to determine the conservation treatments that will be required and ensuring that necessary supplies and equipment are on hand to perform the treatments. I am undertaking the conservation of textile-based collections in the Margaret Page Conservation Laboratory in the lower level of the Hamilton Building. More

Conserving a Canaletto
Blog: Conservation

Conserving a Canaletto

DAM Blog Post Series Documents Masterwork's Restoration

Denver Art Museum staff are publishing a multi-part series on a long lost painting recently located in our collections. More

Techniques Reveal Location, Extent of Damage
Blog: Conservation

Techniques Reveal Location, Extent of Damage

Part 4 of Conserving a Canaletto

In this post I will review (with pictures!) my findings. The techniques discussed were: normal, raking and specular illumination, ultraviolet-A radiation, and x-radiation. I was able to gather useful information from all of the techniques for my assessment. More

Painting in Better Condition Than Anticipated
Blog: Conservation

Painting in Better Condition Than Anticipated

Part 3 of Conserving a Canaletto

I’ve finally been able to more closely examine the Canaletto to gain a better understanding of its present overall condition and treatment history. Generally, the picture is in better shape than I anticipated. To come to that conclusion I used a variety of evaluative and analytical techniques to assess the painting’s structural and aesthetic state. More

Even Unknown Masterworks can be Found in Museum Storage
Blog: Conservation

Even Unknown Masterworks can be Found in Museum Storage

Part 2 of Conserving a Canaletto

My story is about the discovery and subsequent process of reaching consensus on the attribution of an unpublished early work by the Italian veduto (vista or views) painter Giovanni Antonio Canal, called il Canaletto I 1697 – 1768 at the Denver Art Museum. More

Discovering a Long Lost Masterwork, and the Road Ahead
Blog: Conservation

Discovering a Long Lost Masterwork, and the Road Ahead

Part 1 of Conserving a Canaletto

I was happy to hear from Timothy Standring, the curator of European painting and sculpture, that the Denver Art Museum was awarded the TEFAF grant to treat a long lost Canaletto picture, Venice: the Molo from the Bacino di San Marco. More