Images of canvas painting for beginners11/5/2023 We knew that pre-stretching can cause a canvas to split. We knew that when rabbit-skin glue dries it can pull off a layer of glass from inside of a beaker. What is happening within the structure of a canvas painting? What forces exist within the layers of a painting on canvas? What is their magnitude? Where do they act? What are their consequences? We knew that when a wood panel is constrained it causes huge forces that can crack it from end to end. No-one had addressed the most fundamental questions. What about more subtle solutions? It was clear that we needed to know much more about the painting and the conditions to which we intend to expose it. A marouflage is a sound support, but that is an extreme solution. What is a sound support? One that copes with handling and transport, tensions from humidity and temperature changes, is chemically stable and visually acceptable. At Greenwich there was much confusion between the need to provide a sound support and the need to re-attach the paint film to the original canvas. Lining was seen as a solution but the criteria for lining had never been properly addressed. This is not entirely true but in a museum the argument for carrying out a lining has a higher threshold. 6īut in museums, so the argument goes, we are able to defer lining because we know that paintings will be kept in acceptable conditions and remain available for re-examination, which allows us to reconsider our treatment if it continues to cause problems. My initial response was a desire to find out more and to experiment with all the options presented. We had identified a hugely important issue in conservation that needed solving. This was not what I wanted to hear and it took me some time to see its value. Percival Prescott, co-ordinator of the conference, called for a moratorium on lining to give conservators time to take stock of the situation. In retrospect its main value was to identify the inadequacy of our understanding.Īfter the conference, since there had been no agreement on what constituted a good lining, W. There was little meeting of minds on solutions, each described their own practice, but the full range of problems was at least identified. It brought together a group of specialists from around the world with very different views of what was required from a lining. The Greenwich Conference was a very significant event since it was the first opportunity to discuss this subject. This paper presents an overview of the subject and is illustrated by some examples of solutions to structural problems that have been used regularly. These two events were an opportunity to take stock of changes during the last thirty years to conservation practice for the structural conservation of canvas paintings. The meeting coincided with the belated publication of the often referred to papers from the Greenwich Comparative Lining Conference of 1974. In 2004 the UKIC held a meeting on the subject of ‘Alternatives to Linings’. The application of this knowledge to conservation practice creates an ongoing dialogue about the aims, aesthetics and ethics of conservation. ![]() ![]() But this approach is very dependant on the accuracy and relevance of engineering models derived from recent scientific research. Now, a less interventionist approach is taken. This has largely replaced apprenticeship training, which tended to reinforce the strengths of existing practice. These attitudes in part derive from a more academic education that conservators now receive. A major change of opinion has occurred, reinforced by modern attitudes to conservation which place greater emphasis on preserving the original state of the canvas support and applied paint film. But in recent years the value of lining has been questioned and its disadvantages documented. This was called re-lining and later became known as lining. In the past, the attachment of a second canvas to reinforce the weakened original was universal practice. The structural treatment of deteriorated oil paintings on canvas is a major concern of paintings conservators.
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