Home Contact | Advertising Subscribe
Search Listings
Alberta British Columbia Oregon Washington
Exhibition Previews
Gallery Websites
Conservation Corner

To find gallery listings use search at page top right.


Seeing in Different Ways: A Liz Magor Backpack Project
Seeing in Different Ways:
A Liz Magor Backpack Project

Why Paper Discolours (Part 2)
Why Paper Discolours (Part 2)

Why Paper Discolours (Part 1)
Why Paper Discolours (Part 1)

Mending a Tear in an Aboriginal Drum
Mending a Tear in an Aboriginal Drum

Distortions and Dimensional Changes
in Paper (Part 3)
Distortions and Dimensional Changes
in Paper (Part 3)

Distortions and Dimensional Changes
in Paper (Part 2)

Distortions and Dimensional Changes
in Paper (Part 1)

After treatment
Oscar Cahén: Innovative Conservation
for an Innovative Artist

Rigid Water Gels: New Treatment Options for Paper Conservators

Structural Remedies for Canvas Paintings

Organizing and Preserving Collections - Part 4: Digital-based Material

Organizing and Preserving Collections - Part 3: Photo-based Material

Organizing and Preserving Collections - Part 2: Paper-based Material

First Steps
Organizing and Preserving Collections - Part 1: The First Steps

Natural Dyes
The Use of Natural Dyes in Textile Conservation

A Relocation Project

Challenges of Preserving Contemporary Artwork

Preserve Your Investment through Art Conservation

A Project Completed: Heritage Preserved

Old and New Methods for Cleaning Paintings

I Can See Clearly Now – Or Can I? Part 2

I Can See Clearly Now – Or Can I?

The E.J. Hughes Mural: An Expanded Project

Is She or Is She Not an Emily

Treating Art with Sensitive Media

Malaspina Mural: An Update

For the Artist: Testing Your Materials

Conservator as Art Historian

Alum Sizing and the Art of W.J. Phillips

Treatment of an Elizabeth Keith Wood Block Print

Structural Treatment of an Emily Carr

The Treatment of a Monumental Wall Hanging

Changing Images

Preserving a Rare Record

Gold Leaf: Imitation and Genuine

The Case Against Canvas Backings

Heritage Colours: Research Discovers Original Colours

Lighting Your Art: Balancing Seeing and Protecting

The Double-Sided Emily Carr Painting

Choosing a Period Picture Frame

How to Identify a Picture Frame

Stretching Canvas and Restretching Artwork

Mounting Textiles

Aging Paintings:
Some Causes and Effects

Chine Collé Prints

What's Your Favourite Color?

Backing Removals

Rips, Holes and Tears

Filling in the Gaps

DIY – Preventative Care of Paintings

Frame it Right

Fire, Water and Smoke-Damaged Paintings

Inherent Vice

Saturated Problems:
A Water-Damaged Painting

Moldy Paper

Conserving Time

Conserving Paper: Dos and Don'ts

Repair of Textiles

Conserving Wood

Rescuing Endangered Murals

Repairing Acid-Matte Burn

Art Services & Materials
Exhibition Openings & Events

  Conservation Corner Back

Rips, Tears and Holes

by Cheryle A. Harrison
Conservator, Pacific Conservators
Vancouver, BC

A badly damaged painting before
A badly damaged painting before …
RIPS, TEARS AND HOLES can happen in a myriad of ways: Ouch! How did that happen? Conservators have their own history of how slices and bumps have found their way for treatment and care. For instance, a fellow I knew in England would collect antiques and his constant companion would tag along. One day this enthusiastic dog jumped into the back of the van and through a very large painting! People have walked through painted screens. Animals chew holes and gnaw panels. Attic roofs have collapsed to let debris, rain and snow fall onto stored paintings. Another time, a painting repeatedly fell from the wall and was spiked by a spindled- back chair. After the third round of repairs, a mandatory visit ensured the artwork was hung safely. Accidents happen.

Another excerpt of conservation history is how damaged paintings have been fixed in the past. Home remedies and happen-chance materials have found their way into repair kits. Poly-filla has been commonly used to fill holes and cracks. A repair with a Canadian flair employed shiny duck tape to secure numerous long tears and adhered the un-stretched canvas painting to a piece of hardboard. Another painting had old holes filled with straw and a slathering of melded oil and resin for the adhesive. Several times I have found aged postcards with scribbling of a French “bonjour”, and one repaired tear had glued admission tickets from an amusement park.

and after conservation treatment by conservator Cheryl Harrison
…and after conservation treatment by conservator Cheryl Harrison
Each painting is unique. A conservator’s approach to repairing damage includes understanding a particular artwork’s construction and the materials used by the artist. There are varying ways to treat injured areas. If a tear or hole is small enough, localized treatment is often the answer. A damaged canvas painting has broken canvas threads, and often, distortion and irregularities surround the tear or hole. Sometimes a bulge will develop or the canvas support will stretch out of shape. The paint and ground layers may fracture, partially detach, or flake off.

Prior to treatment, a painting is tested for reactions and sensitivities. Controlled moisture or solvent-moisture treatments may encourage distorted areas towards a more uniform surface. Any flaking paint requires reattachment employing an adhesive using a syringe or small brush. Options for adhesives range from a traditional surgeon’s glue to contemporary synthetics and resins. Using magnification and diminutive tools, the canvas threads along a tear are carefully rewoven. Additional threads can be interwoven to fill in the areas of loss, or inserts may be made for holes. Patches are not recommended, as they create structural stress and eventually imprint leaving distractive outlines. Missing areas of paint and ground are minutely filled with museum quality filler and minimally in-painted to lessen the distraction of the loss. A conservator utilizes professional in-painting methods and guidelines, and this expertise includes knowledge of Old Masters and painting techniques. All materials used for treatment are selected for overall compatibility, slow deterioration characteristics, and for ease of removal (reversibility) without endangering or bonding to the original artwork.

Conservation is an engaging combination of science, art and a participation in the guardianship of artwork and history. For more information visit the FACTS (Fine Art Care and Treatment Standards) website at www.artfacts.org.

Last issue: Filling in the gaps.
Next issue: Backing removal.

 Fri, Feb 1, 2008