We All Make Mistakes: Q&A With A Paintings Conservator

One of the many benefits of being represented by an established art gallery is the introduction  I was given to a real Paintings Conservator. Unfortunately, our introduction was based on a common mistake artists (and myself) continue to make: we get so excited to send work to a gallery that we wrap it and ship it before the varnish has fully dried, which leads to damage to the varnish. I’ve actually done this a total of three times in my 10 years as an oil painter. I can honestly say that after my Q&A with Paintings Conservator Christyl Cusworth, I have finally learned my lesson. Please enjoy this conversation and feel free to reach out to Ms. Cusworth if you need her services: Cusworthconservation.com

Q: What is the difference between a Curator and a Paintings Conservator? 

A: A Curator is one who handles collections of artwork for a gallery or a museum etc. As a paintings conservator, I restore paintings in such a way as to maintain their aesthetic as well as their structural integrity — preserving the artist's original intent while providing what is 

needed to physically maintain the artworks stability and longevity. One way we do this is to use all reversible materials. Materials that are easily removed without damage to the original. Also, we use and stay up to date on contemporary accepted techniques and treatments that will not damage the artwork, either now or in the future. 

Q: Probably the question I get asked the most is can an oil painter paint over varnish?

A: Well, yes. As an artist you can do whatever you want, right. This is a very subjective question. Oil painters have been using layers of glazes (varnish mixed with paint) for hundreds of years. Most varnishes discolor over time, some more than others. It's important to know the natural pine resins (such as damar varnish) will discolor more and faster than some of the newer synthetic resins. Whether or not these varnishes can be removed safely without damage to the original will be determined by what type of paint and varnish you are using, among other variables. It's important to know about the materials you are using and how to use them. For instance, it is recommended that most oil paintings should not be varnished for at least one year, in order to be sure that they are dry, and that the solvents in the varnish do not affect the paint layer.

Q: Do you need to remove varnish to correct a mistake or scratch in a painting?  

A: Again, I feel this is a subjective question. The answer depends heavily on what type of paint, what type of varnish, etc.  

Q: Most of my students are using a mix of modern brands of oil paint such as Rembrant, Winsor Newton, Gamblin, etc. and either damar varnish or synthetic varnishes by Gamblin and Winsor Newton. With these materials is it only necessary to remove the varnish to make a correction to a painting if you want to ensure that the changes are under the final varnish coat? That is to say, you don’t care if some time in the future when the work is cleaned that the corrections you made are not whisked away with the varnish layer during cleaning?

A: Again a very general question…depending on the specific materials used in your painting and varnish. If you make corrections to your painting on top of the varnish layer your corrections are on the varnish layer and are not part of the painting underneath and thus can be removed when the painting is cleaned or repaired in the future. 

Q: As a Paintings Conservator, do you have any preference for Matte VS. Gloss varnish? 

A: No, this is a purely aesthetic preference. It is more important to use a varnish that can be more easily removed from the type of paint layer the artist is using than whether the varnish itself is either matt or glossy. 

Q: As you know, many artists rush the varnish drying process and wrap their paintings in plastic and ship them before the varnish is fully dry. This damages the varnish leaving a pattern in it. How should an oil painter fix this? 

A: Varnish imprinted with bubble wrap will most likely have to be removed to correct it. This should be done by a professional. 

Q: How should an oil painting be wrapped for shipping?

A: Wrapping the painting correctly is important. A painting should never be wrapped directly with plastic. A wet painting should not be wrapped. There are many ways to properly ship and crate artwork. A layer of Silicone release paper between the acid-free glassine/plastic will help prevent sticking. 

Q: I often roll my paintings in a tube instead of shipping them stretched and framed because it is so much less expensive and seems to be safer. Do you have any thoughts on shipping a painting in a roll vs. shipping it stretched?

A: Although it is sometimes unavoidable, rolling a painting is a last resort. It should be discussed with a professional first to see if the painting can be rolled without damage, especially if it is an older painting. If you have a large piece to ship, consider using a local Art Handler/Delivery service. They are experienced at moving art, and they may surprise you with the cost compared to FedX or Ups and you may not need to roll a larger piece.

Q: Can you advise an art student how to properly clean an oil painting? An acrylic painting? Or is this something that must be done by a curator?

A: I do not recommend artists truly clean any painting. A true cleaning is not the same as dusting which can be done very gently with a soft brush such as goat hair. 

Q:  If artists can repair a cracked painting on our own, is there a simple step by step way to do this? If so, how?

A: An artist is not a conservator as an electrician is not a plumber. We have specialized training in the repair of artwork. I do not advise any artist to attempt to restore a painting without the proper training. Inexperience can result in quick and irreversible damage and a diminution of value of the artwork. With that said, if you are repairing your own artwork, it is important to document what you have done and the materials that you used. This is helpful to the conservator that will possibly be repairing your work in the future. 

Q: Do you have any advice or preferences on products that can be used when going back into an unvarnished, dried oil painting to help match the colors?

A: With so many types of paints and mediums that may be used in the creation of your specific painting it is impossible to recommend any particular product. I will say that it is vital for you to know your materials and how to use them. A book I like for this is The Painter's Handbook. Though it is a bit out of date in some sections, it is a good resource for understanding mediums, grounds, solvents, structural supports, etc.

Q: I once had a forklift go through the face of a portrait painting. There were no strings left to weave together, so I removed the fray and permanently glued the painting to an archival board using archival glue. I used many layers of oil primer to fill the depth of the gap so that the last layer of primer was level with the canvas. I used a scrap of canvas to press into the last layer of primer and create an illusion of the canvas texture in the slender gap of primer (which was about 3 inches tall and .25 inches wide at the widest part.) I then proceeded to paint over the fully dried primer layerst and the repair turned out beautifully. Is this a legitimate repair technique? Would it have been better to replace the whole with actual canvas?

A: Artists can of course forgo using a professional paintings conservator and choose to make corrections or repairs like these to their own work, but I caution you in doing this, especially if you expect your work to be in longtime/permanent collections and museums. Again, an artist is not a conservator. Poorly created or repaired paintings are in museums today and can not be readily viewed because of their fragile state. They are kept in climate controlled vitrines to prevent deterioration. 

Q: Lastly, the work you did to repair my varnish mishap was surprisingly affordable, so thank you! Do you have one last word of advice for my readers?

A: If you are repairing your own artwork, it is important to document what you have done and the materials that you used. To give your painting the best chance at longevity and the best chance to retain the painting’s integrity, artists must know your materials (only use material you know completely) and leave true repairs to professional painting conservators.