Synopsis of Slide Lecture

I. Introduction

Art must be preserved in the best state possible, not only for future generations, but so it can meaningfully represent its historical period. Proper care and preservation of paintings require a set of actions specific to each object and its environment.

II. Historical Perspectives

The motives for protection of paintings against damages were first religious. The earliest specialized studios for restoration appeared in the 17^th and 18^th centuries, but restoration came into its own in the 19^th century, when most of the museums in Western Europe were created. It is only in the last 50 years that Southeast Asian paintings are being seen in a historical context with a need to be preserved as testimonies of a living cultural heritage.

III. Examination

Before each treatment, a damage and condition report is written based on a careful examination of the painting. Specimens can be extracted and sent for research to a physics or chemistry laboratory to help identify binding, pigments, paint layers and overpaint.

IV. Damages

Major damages to paintings include fading and mould, cracks and distortions, and the impact of light, pests, ignorance and human negligence, as well as unprofessional consolidation trials and errors which can have severe and often irreversible stress impacts.

V. Materials

Different materials comprise different painting ages, each with its own reaction to the environment. The specific choice of materials used by each artist also affects the aging process.

VI. Lighting

Light damage is irreversible. Light can cause colors to fade and varnish to alter. Reducing light levels and eliminating ultraviolet radiation caused by sunlight, fluorescent and most halogen lights are important measures of preventive conservation.

VII. Relative Humidity and Temperature

Many damages are caused by the high relative humidity (RH) in Southeast Asia, and from fluctuations and changes that occur, for instance, from bringing paintings in and out of air conditioning. Displaying, mounting, framing, and storing procedures all must take RH into account. Mould is an important topic in tropical countries.

VIII. Pollutants and Pests

Air pollution is ever present and damages the environment. Dust, nitrogen, oxides and sulfur compounds accelerate the deterioration of paintings. Pests can cause irreversible damages to paintings, leaving them chewed, torn or soiled.

IX. Framing and Handling

Many damages result from faulty framing. Proper framing is important for conservation, including the use of metal plates and screws, proper stretchers, backing boards and sometimes loose linings. Proper handling will prevent damages when a painting must be moved.

X. Examples of the Restoration Process

In conclusion, a few examples of paintings will be shown where intensive conservation and restoration was needed due to the previously discussed issues. All the slides used in the lecture are of paintings restored by Renate Kant and colleagues in her professional studio.

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