Before the work was shipped to the museum from out of state, our curator of American art, Julie Aronson, PhD, contacted a professionally trained paintings conservator in that region to examine it. He noted a few areas with cracks and lifting paint that might be jeopardized during transport. With permission from the owner , the conservator applied the three tissue paper patches you see here to make sure that no paint flakes were lost in transit.
A few months ago, I posted about the complicated surface coatings on Cézanne’s Still Life with Bread and Eggs.” But what was going on under the surface was even more of a surprise.
Look for the recently conserved painting in our gallery soon.
Look for Bread and Eggs (and onions!) to return to the permanent galleries soon.
The last step of conserving the large 7’ x 5’ painting by Murillo has arrived.
Now that the Murillo has been cleaned of varnish and retouching, it’s time to address its structural support, in other words, the canvas and stretcher.
Cleaning of the very large painting by the Spanish artist, Bartolomé Esteban Murillo, has begun.
Our paintings conservator is readying another painting for our upcoming exhibition Henry Mosler Behind the Scenes: In Celebration of the Jewish Cincinnati Bicentennial.
Conservation has begun on one of the tallest paintings in the museum.
Conservation of the large still-life by an anonymous 17th century Neapolitan artist is finally finished.
More Asian paintings have moved through the paper lab on their way to be conserved by a scroll mounting specialist.
Here’s another close encounter in the paintings conservation studio that you would be unlikely to see in our galleries.
As the king of beasts in China, the tiger is also one of the oldest and most meaningful animal subjects in Chinese painting. Here, the unidentified artist portrays a large tigress sitting under an old pine tree.
Be sure to stop by Gallery 227 to see Still Life in Blue with Lemon after its visit to Conservation.
No, it’s just the morning sun hitting our jars of dry pigments through the blinds, a brief exposure that does no harm.
Shown here is a painting by Wu Zhongxiong that was selected by the Curator of Asian art to include in our next grant application.
Conservators strive to ensure that their conservation treatments will preserve each artwork for numerous decades or, we hope, even longer.
“Blossoms” has just received its new frame, so look for it to pop up on the wall of our American galleries in the near future.
The large Neapolitan still-life is back — with a new look.
Our paintings conservator has been working on this very large 17th century Neapolitan still-life.
This upright trio recently encountered one another in the Paintings/Objects Conservation lab.
Our painting conservator has been working on this very large 17th century Neapolitan still-life.
Our paper conservator and our curator of East Asian art have been examining paintings from storage so we can add information to the curatorial and conservation files.
These blossoms are being conserved just in time for spring.
Our paintings conservator is examining this very large still-life in preparation for cleaning it.
Our paintings conservator has started to clean the varnish from this painting by Edmund Tarbell.
This life size painting by 19th century American artist, Thomas Satterwhite Noble, is a recent acquisition.
A heavy layer of grime covered the surface of the thin wood panel and the remains of paint.
While the paintings conservation studio is under renovation, we thought you might like a look at an example of the choices that conservators can face.
Along with many other areas of research, conservation scientists test the materials that conservators use in treating works of art.