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.
Over the summer the paper conservator prepared two William Blake works for travel to an important exhibit at the Tate Britain in London. Blake’s Songs of Innocence and Experience is a collection of hand colored relief etchings of his poems first published in 1789 and 1794.
In textile conservation, work was recently completed on “Ragsby Dollyver,” a “portrait” rag doll by Laura Turpin that may be the artist’s self-portrait.
These two separate fragments from a stone incense burner have been in the collection since 1939.
Here are some of Brad's favorite pieces in our permanent collection!
Conservation for the upcoming Duveneck exhibition continues apace.
These two 1st Century CE ceramics from Petra are in the objects lab receiving conservation.
Sometimes a painting can make its feelings known.
When the Cincinnati Art Museum was founded in 1881, it collected much more than just art. In fact, it aimed to gather, preserve, and exhibit “valuable and interesting objects of every kind and nature."
Sometimes an artist presents us with something that looks good from the front, but when we turn it over we notice that there are problems that can’t be seen when the art is hanging on a wall.
This Japanese garment, or haori, recently went on display in the Asian Gallery.
A recently discovered notebook with a third of its contents missing and a ceramic umbrella stand held together with wire—these aren’t exactly the objects that immediately elicit a response of “that belongs in a museum!”
These two 5-6th C stucco panels are in the lab for treatment.
Here are some of Gillean's favorite pieces in our permanent collection!
Our Italian masterpiece A Sibyl and a Prophet by Andrea Mantegna, dated to around 1495, has been in the paintings conservation lab for treatment.
Later this month a group of portrait miniatures will go on view highlighting women artists and subjects.