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This week in Objects Conservation we are outside with Pinocchio!
This padded headboard insert has a doppelganger. It is being prepared for an exhibition next year and came to the textile conservation lab for treatment.
Did you know that one of the most important parts of conservation is keeping a detailed and thorough record of every treatment?
When this landscape by Pierre Bonnard went out on loan to another museum a few years ago, our paintings conservator only had time to surface-clean it, to remove the dust and grime that was on the surface.
For those of you who saw Women Breaking Boundaries before the museum had to close its galleries, you would have seen the wall-sized piece by Lorna Simpson, Wigs.
What is a “textile” anyway? Take Color for a Spin is a fiber sculpture made of crocheted forms stiffened with a coating and strung together with wire.
Although the Cincinnati Art Museum is currently closed due to the coronavirus crisis, like museums across the region and across the nation we are looking for ways to help in the fight against the pandemic.
This set is made of porcelain with very thin, translucent walls and a gilt fruit and vine design.
This painting is a nineteenth century American landscape that has suffered multiple tears in the course of its lifetime, probably due to the poor quality of the canvas.
Keen-eyed visitors to our current exhibition, Gorham: Designing Brilliance, will notice a familiar Cincinnati name on two of the objects: Rookwood Pottery.
Check out this behind the scenes look from our conservators.
Students were so excited to start a Romare Bearden lesson.
This week in objects conservation we open up the 19th C Lacquered chest.
In late 2019, I received a research grant from the Center for Chinese Studies in Taipei to conduct research on the catalogue of our upcoming exhibition Galloping through Dynasties.
This beautiful landscape by Impressionist Alfred Sisley was recently being cleaned of its varnish by our paintings conservator.
One of the perks of being a conservator is of course spending many hours up-close-and-personal with great art.
If you have been following the Behind the Scenes in Conservation posts, you know that a lot of works by Frank Duveneck have passed through the Conservation Department over the past years.
In a few weeks, we are installing some recent acquisitions from CAM’s fashion collection in Gallery 150.
This week in objects conservation we return to the 1740’s Rococo gilt table.
Conservation of this painting on wood panel by the Dewing husband-and-wife team was undertaken because the retouching on the painting had discolored.
This drawing recently came to the paper lab to have some old paper remnants removed. The drawing is on the back of a letter, and some of the writing was obscured.
CAM is proud to have one of the oldest art conservation labs in the country which started with a single, part-time paintings conservator in 1935.
This 1740’s French Rococo gilt table is in the lab receiving treatment for an upcoming exhibition in 2021.
The Victorian Period is widely known as a time of rapid industrialization, mechanization, and scientific inquiry.
This tall narrow painting by a husband-and-wife pair is in the paintings conservation studio for removal of varnish and discolored retouching.
Oil paintings do not usually come to the Paper Lab, but occasionally the conservators share projects, and that is the case here.
A steady hand and a sharp eye are key for the repair currently underway of this painted silk taffeta bedspread in the textile conservation lab.
This week in Objects Conservation: An update on the treatment of our 19th C Korean lacquered chest.
Our paintings conservator has been cleaning this idyllic view of the Seine for the past few days.
How do you print on a three-dimensional object like a teacup? We recently installed a group of materials in the Library Reading Room that illustrate the process of transfer printing on ceramics.