When working in historic interiors featuring fine art and murals, proper consideration and resources must be allocated for the protection and conservation of fine art. Though every precaution and safety measure is reviewed each day on a job site, it is nonetheless crucial to protect the surfaces of fine art from any potential mistakes or accidents during the project. Budgets, urgency, and/or owner/donor preference may dictate the order in which a project is phased. This means the ornamental painter and art conservator must be adaptable to alternative phases of work and conditions. With a conservation analysis to determine the stability and general conditions of the artwork, a project may safely advance with protective measures and conservation suggestions for the artwork taken into consideration.
Whether the actual conservation of the artwork is included during the scope of work, protective measures are addressed from the start. These measures are required for fine art regardless of whether it has been previously restored. The purpose is simply to ensure that any other work taking place on the job-site will not cause any damage to the artwork. Prior to installing protective coverings, a minor analysis may be required to understand the environmental conditions of the interior and how best to protect the artwork surface. In cases of light construction, protective coverings are often relatively straightforward. However, invasive and disrupted projects may require off-site storage or onsite encasement. Understanding the variables pertaining to the condition of the artwork and the scope of the project will dictate the extent of protection necessary.
Canvas Removal. The mural has been protected with facing paper and is being removed from the original support. Kansas State University, Hale Library We Are the Dream Mural.
The top banner image shows protection in place for the Overmyer murals in Hale Library.
Facing paper being applied for protection and the canvas being removed at Lyon County Courthouse.
In the 21st century, the purpose of art conservation is preservation first. In previous eras, the approach to art in disrepair was more aesthetic revitalization. The sentiments of the time and the appearance of newness were prioritized to the hand of the artist and the historical integrity. Previous conservation methods have caused irreparable damage. Thankfully, much has changed in the late 20th and 21st century. Following the guidelines of the American Institute for Conservation (AIC), the modern era prefers the approach of the archeologist: scientific, cautious, and unintrusive. Ideally conservation improves the visual appearance of the artwork but the first priority is to the stability of the original paint layers for the appreciation of future generations.
Kansas State University Murals after conservation.
Today, it is standard procedure to document thoroughly all conservation materials utilized, the conditions of the artwork, and to leave an area of the artwork untouched so that future conservators may be able to study the before and after results hands-on. Conservation cleaning is tailored to the specific chemical makeup of the artwork. Further, any necessary inpainting in areas of loss or damage is completed on a separate varnish layer from the original work utilizing reversible materials.
Lyons County Courthouse mural inpainting in progress.
Conservation analysis should take place when onsite construction is minimal to avoid dust particles from affecting the results of analysis and conservation testing. Ideally testing is most efficient prior to commencement of any other onsite work so that the condition of the artwork is noted and the full scope of work is considered. However since every project is different, even during an extensive interior restoration controlled testing areas may be constructed for accurate results. Assessments not only enlighten all necessary parties on the material and historical make-up of the artwork but also determine the extent and manner of conservation required.
Each conservation program is tailored to the specific make-up of the artwork; thus an assessment is crucial to understanding the necessary protection measures required, the complexity of the preservation process, and organizing the overall scope of work. Once protective measures are in place, other phases of work should be able to complete their scope without issue. But of course, caution and consideration are always key on a historic restoration project of any kind.
