Manuel Neri collage#7
Frank Lobdell (April (1976)
FRANK LOBDELL "27 MAY 1948"
Manuel Neri " collage#7 "
Manuel Neri " Collage # 1"
Frank Lobdell "April 1976"
Mark Adams " portrait Beth Van Hoesen "
Roy DeForest
Mark Adams " self portrait"
ART CONSERVATION
The current focus of our research and study, we aspire to attain a general overview as well as knowledge of
the techniques and materials that differentiate each artist's work.
Art Conservation's extensive contribution to Modern Art can be summarized into three categories:
techniques and materials used by the artists, followed by the development of methodical analyses, and
finally a strategy to treat and conserve modern and contemporary art.
the techniques and materials that differentiate each artist's work.
Art Conservation's extensive contribution to Modern Art can be summarized into three categories:
techniques and materials used by the artists, followed by the development of methodical analyses, and
finally a strategy to treat and conserve modern and contemporary art.
MODERN PAINTINGS
Oil on canvas
Joan Brown "self portrait"
" WHERE IS MY WANDERING SON "
DIFFERENT PARTS OF THE PAINTING TO
DETERMINE STAGE AND METHODS TO
REMOVE FOREIGN DEPOSITS.
DETERMINE STAGE AND METHODS TO
REMOVE FOREIGN DEPOSITS.
PAINTING HAD BEEN HANGING ABOVE A
FIREPLACE FOR SEVERAL DECADES.
ACCUMULATION OF DIRT, DUST MIXED
TOGETHER WITH CARBON PARTICLES,
DISCOLORATION, STAINING, EXPOSED
GESSED AREAS AND TEXTURED PAINT
LAYER.
FIREPLACE FOR SEVERAL DECADES.
ACCUMULATION OF DIRT, DUST MIXED
TOGETHER WITH CARBON PARTICLES,
DISCOLORATION, STAINING, EXPOSED
GESSED AREAS AND TEXTURED PAINT
LAYER.
PROCESS: HALF REMOVAL , CLEANING REPEATED SEVERAL TIMES ON EACH SECTION OF THE PAINTING OVER SEVERAL
DAYS TO ALLOW CLEANING AGENTS TO EVAPORATE TO STABILIZE CLEANING AREA
DAYS TO ALLOW CLEANING AGENTS TO EVAPORATE TO STABILIZE CLEANING AREA
AFTER TREATMENT AND SEALING OF THE PAINTING
TREATMENT: CONSOLIDATION OF DIFFERENT PARTS OF PAINTING. CERTAIN JOINED
SEGMENTS OF PAINTED CANVAS BECAME LOOSE AND REQUIRED SPECIAL ATTENTION.
ACCUMULATED GRIME REMOVED, MULTIPLE CRAQUELURES SCATTERED
EVERYWHERE WERE INPAINTED, AND PAINT SURFACE VARNISHED.
SEGMENTS OF PAINTED CANVAS BECAME LOOSE AND REQUIRED SPECIAL ATTENTION.
ACCUMULATED GRIME REMOVED, MULTIPLE CRAQUELURES SCATTERED
EVERYWHERE WERE INPAINTED, AND PAINT SURFACE VARNISHED.
BEFORE TREATMENT
PROCESS; CLEANING SURFACE
AFTER TREATMENT
CONDITION: CONTRACTION OF CANVAS, SEPARATION OF PAINT LAYERS FROM CANVAS,
NUMEROUS WIDE CRAQUELURES AND SCATTERED LOSSES OF THICK PAINT LAYER.
TREATMENT: FACING PAINT SURFACE, RESTRETCHING CANVAS ON A WORKING
STRETCHER, CONSOLIDATION OF PAINT LAYER AND CANVAS, PLAINING SURFACE OF THE
CANVAS, REMOVAL OF FACING PAPER, PAINT CLEANING, COMPENSATION OF GESSO
WITH IMITATION OF BRUSH STROKES, INPAINTING
NUMEROUS WIDE CRAQUELURES AND SCATTERED LOSSES OF THICK PAINT LAYER.
TREATMENT: FACING PAINT SURFACE, RESTRETCHING CANVAS ON A WORKING
STRETCHER, CONSOLIDATION OF PAINT LAYER AND CANVAS, PLAINING SURFACE OF THE
CANVAS, REMOVAL OF FACING PAPER, PAINT CLEANING, COMPENSATION OF GESSO
WITH IMITATION OF BRUSH STROKES, INPAINTING
CONDITION OF THE PAINTING BEFORE APPLICATION OF GESSO
AN ENTIRELY GESSO-COMPENSATED, PAINTING PRIOR TO INPAINTING
AFTER TREATMENT
THIS PAINTING WAS RECENTLY TREATED In AN ANOTHER
CONSERVATION LABORATORY AND DELIVERED TO ME.
TREATMENT: REMOVAL OF PREVIOUS INPAINTING, REMOVAL OF
VERY WEAK GESSO, REPLACING AND LEVELING OF GESSO,
INPAINTING
CONSERVATION LABORATORY AND DELIVERED TO ME.
TREATMENT: REMOVAL OF PREVIOUS INPAINTING, REMOVAL OF
VERY WEAK GESSO, REPLACING AND LEVELING OF GESSO,
INPAINTING
TREATMENT
In PROCESS AND AFTER In PAINTING
AFTER TREATMENT: PAINTING HAS BEEN CLEANED AND SEALED
BEFORE TREATMENT
BEFORE TREATMENT: FRAGMENT
BEFORE TREATMENT: FRAGMENT
BEFORE; FRAGMENT
BEFORE ; FRAGMENT
AFTER TREATMENT
AFTER: FRAGMENT
AFTER: FRAGMENT
AFTER: FRAGMENT
AFTER: FRAGMENT
AFTER: FRAGMENT
CONDITION: NUMEROUS CRAQUELURES, AN AGED ACCUMULATION OF DIRT.
TREATMENT: CONSOLIDATION OF SOME AREAS, CLEANING SURFACE OF THE PAINTING, FILL In
WIDE CRACKS AND INPAINTING ALL DISTURBING CRAQUELURES THAT DISTRACT ATTENTION
FROM ORIGINAL INTENTION OF THE ARTIST, SEALING.
TREATMENT: CONSOLIDATION OF SOME AREAS, CLEANING SURFACE OF THE PAINTING, FILL In
WIDE CRACKS AND INPAINTING ALL DISTURBING CRAQUELURES THAT DISTRACT ATTENTION
FROM ORIGINAL INTENTION OF THE ARTIST, SEALING.
BEFORE TREATMENT
BEFORE TREATMENT: A NUMEROUS TRACES OF LEAKS ON BLOUSE,
DISCOLORATION OF PAINT LAYER
DISCOLORATION OF PAINT LAYER
BEFORE TREATMENT; MULTIPLE DISTURBING CRAQUELURES ON HAIRS OF SUBJECT.
AFTER TREATMENT
TREATMENT: CLEANING SURFACE OF THE PAINTING, REMOVAL
OF STAINED LEAKS OF SOME SUBSTANCE, INPAINTING OF
CRAQUELURES ON HAIR SECTION, SEALING
OF STAINED LEAKS OF SOME SUBSTANCE, INPAINTING OF
CRAQUELURES ON HAIR SECTION, SEALING
AFTER TREATMENT: SHOWN FRAGMENTS OF THE PAINTING AFTER INPAINTING
TREATMENT: CLEANING SURFACE OF THE PAINTING, A
MINOR INPAINTING ON ABRADED AREAS
MINOR INPAINTING ON ABRADED AREAS
TREATMENT: CLEANING PAINTING, FILL In GESSO In SOME AREAS WITH DEEP CRACKS,
INPAINTING, SEALING
INPAINTING, SEALING
SCULPTURES
| Copyright © 2013 Art Conservation Lab Mikhail Ovchinnikov All rights reserved. |
| CONTACT US 408.206-6783 EMAIL: ART@ARTCONSERVATIONLAB.COM |
PROCESS; CLEANING SURFACE
PROCESS; CLEANING SURFACE
SHOWN ARE DIFFERENT PARTS OF THE PAINTING BEFORE TREATMENT
MIKHAIL OVCHINNIKOV