What Can You Expect From an Art Conservation or Restoration Process?
Important Insights into the Preservation and Restoration of Artworks
The true beauty and joy of our work as art conservators and restorers lies in the fact that no two pieces are ever completely identical. Every artwork carries its own unique story and individual needs. Consequently, the outcome of any restoration process is an estimate—the final result is shaped continuously as the hands-on work unfolds.
Conservation (Preservation)
The primary goal of the conservation process is to prevent damage that could occur to an artwork if it is not adequately protected, or if it hasn't undergone a preservation treatment specifically tailored to its medium and substrate (support).
In most cases, a conservation process does not alter the character or visual appearance of the artwork—neither positively nor negatively. That is, it does not repair existing damages, and it certainly does not spoil its appearance.
The main exception to this rule is the application of a protective coating (varnish) on oil paintings.
Generally (though not always), removing an old varnish that has yellowed, clouded, or absorbed environmental pollutants—or cleaning accumulated dirt from an unvarnished painting—followed by applying a fresh protective coat, makes the painting look brighter and its colors significantly more vibrant.
- The Result: This process effectively brings the artwork closer to how it appeared when the artist originally completed it.
Restoration
Our guiding principle in the restoration process (repairing damage that has occurred over time) is, first and foremost, to return the artwork as close as possible to its state upon completion by the artist.
We do not correct visual "mistakes" made by the original artist (if any exist) and we always aim to do only the absolute minimum necessary.
By the end of this process, there should be no visual disruption when viewing the artwork from a reasonable distance of about 1.5 meters (~5 feet). However, a professional examination should still be able to distinguish between the original medium and the restored areas.
During restoration, we typically remove surface dirt and foreign substances before the In-painting (retouching) stage. If the painting is meant to be displayed without protective glass, applying the aforementioned varnish layer is essential. As a result, the painting will usually look brighter and the colors far more vivid.
The Cleaning Process
As noted, ethical conservators aim to bring the artwork as close as possible to its original condition. However, there are situations where a restorer is limited. For instance:
- Works on paper or textiles: Certain stains cannot be removed without causing permanent damage to the substrate or medium.
- Oil paintings: Overly aggressive or deep cleaning can strip away original pigments.
In such cases, we strictly limit ourselves to a cleaning level that will cause no direct or indirect harm to the piece.
Our Rule of Thumb: It is always better to clean slightly too little than too much.
Until we actually begin the restoration process and conduct essential spot tests on every individual pigment and material, we cannot predict with absolute precision how the artwork will look at the end or how much it will brighten.
In Summary
The ultimate charm of art conservation and restoration is that no two projects are identical. Every piece comes with its own history and distinct physical requirements. While we can estimate the direction of the restoration, the final result is always revealed step-by-step through careful, dedicated work.