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HERITAGE RESTORERS - FAQs
1. What types of qualifications and experience does one require to become a conservator?
There are two methods to become an art conservator. The first is an extended apprenticeship, working with an established, respected paintings conservator for a long period of time. The second is to attend a university art conservation graduate program. You may undertake graduate program that requires a student to have 1 to 3 years of experience in an established art conservation laboratory. After graduation, student needs to spend one to four years in fellowship positions, usually in large museum conservation laboratories. Jobs in art conservation are not plentiful and, considering the amount of education and skill that is required, the field is not the place to become rich.
2. What is the required qualification if we need to go in painting conversation?
The most important qualification in paintings conservation is experience. Essential, too, is continuing education in the field. The MACC paintings conservators attend national and international workshops, symposiums, congresses, and conferences.
3. What is inpainting?
The type of painting which is done in the conservation process is called inpainting. During the inpainting process, losses in the paint and ground layer are filled, leveled, and textured to match surrounding, original layers. Inpaint is applied on the losses, areas of abrasion, and to diminish stains and old restorations (if they are not removed). Inpainting is done only after the original painting has been varnished. This varnish is used to saturate the paint layer and to provide an even gloss surface quality as well as to physically separate the original painting from the inpainting. When done properly, the varnish and the inpainting can be removed during future conservation processes with little or no effect to the remaining original paint layers.
4. What is the hardest type of repair to make?
Tears in a canvas are extremely difficult to repair. Once ripped, torn, or punctured, a canvas curls and distorts. Tears are mended using one of a variety of techniques, but it is not easy to predict how a particular canvas support will react to treatment. Once repaired, a tear is filled and textured to imitate the original canvas or paint texture. Tears often extend through numerous design elements and colors in a painting, so the process of inpainting can be quite challenging.
5. How often are paintings restored?
Paintings require conservation when damage occurs - accidents, vandalism, disasters. In a museum collection, paintings are monitored and surveyed, and a painting can receive varying degrees of preventative care on a fairly regular basis. A painting can go unrestored for 100 years or warrant treatment within years of being painted depending upon quality and use of the original materials as well as the way in which the painting was treated over time. In paintings conservation, the individual object dictates the level and extent of intervention.
6. Are there any free publications or brochures on World Heritage?
A wide range of books, manuals and reports about World Heritage for adults and young people are available for purchase or download on this website, in several languages. You may download and print a free general information kit about World Heritage in English, French or Spanish from this website, as well as other brochures and materials.
7. What is Heritage?
The word 'heritage' is commonly used to refer to our cultural inheritance from the past that is the evidence of human activity from Aboriginal peoples through successive periods of later migration, up to the present day. Heritage can be used to cover natural environment as well. Generally, cultural heritage refers to Indigenous and non-Indigenous places and objects, and associated values, traditions, knowledge and cultures that need to be restored.
8. What is Maritime heritage?
Maritime heritage is often thought to be restricted to shipwrecks, however the term applies to places and objects related to industries such as sealing and whaling and also includes structures such as jetties and piers, and ports infrastructure.
9. How do I best care for my painting at home?
Paintings come in many forms: they can be on canvas, cardboard, hardboard, Masonite, metal, glass, wood panel and even corrugated iron etc. In addition, the paint itself can be oil, acrylic, house paint, watercolour, egg tempera, distemper, sand, chalk, dry pigments. We recommend that all paintings in the home should be kept:
- away from direct sunlight
- away from water pipes and splashing
- away from high or very low humidity areas such as the bathroom and areas with dry heating
- away from thoroughfares, where the risk of physical damage is high and there are drafts
- away from open fire places and other heat sources, such as gas fires, that is, don't put your painting on the mantlepiece above the open fire! It will discolour, harden and become brittle
- away from bright lighting, unless it is occasional
- away from tobacco smoke, because this coats the surface of the painting with a dark yellow film
10. Why does paper become brown and stained?
One of the most common causes of discoloration and staining of paper is contact with acidic or chemically unstable materials, combined with the effects of light, heat and moisture. The culprit is usually wood pulp cardboard or wooden backing material used to mount and frame works on paper. The cardboard may be recognized by a characteristic dark tone at the cut edge of the window mount, and often by discolorations of the paper near the point of contact. Other stains may be caused by the ageing of adhesives such as pressure sensitive tapes, or mould stains. Foxing, brown spot stains, can develop as a result of metallic impurities and micro-organisms in the paper. These forms of discoloration generally indicate the paper is becoming acidic and should be treated, or isolated from the damaging environment.
- The removal of mounting or framing materials could be carried out by a reputable framer, however any treatment to remove adhered material or to reduce staining should be undertaken by a paper conservator.
- Contact your state or city art gallery for information on professionals who may help.
11. How can I keep my painting safe and looking fresh?
- Hang the painting on an inside wall, away from heat sources and lights.
- Use a frame where possible, because it makes handling and hanging safer.
- Use a sheet of Plexiglas or low reflective glass as glazing in front of the painting, inside the frame, to protect the work from dust, grease, disasters and physical damage.
- Make sure the hanging mechanism is properly attached and appropriate for the weight of the work.
- Have a qualified conservator or framer attach a backboard to the reverse of the painting. This protects the work from physical damage and provides some protection against humidity changes and insect damage. Don't attempt to clean the paint layer without advice from a professional Conservator as the surface is usually very fragile.
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We have the best combination of trained & senior conservators, artists, museum experts, and architects.
For more information or a consultation, please call our Chief Conservator & Director,
Ms. Namita Jaspal at (91) 935.600.3285
or send email at namita.jaspal@heritagerestorers.com
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