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.
Conservation of “The Swing” by Nicolas Lancret is moving along.
These days, our paintings conservator is working on a painting that, as you can see, is long overdue for cleaning.
Staff members have been very active in the museum galleries for the past month. One of the cases that was due for its regular rotation is the hanging scroll case in Gallery 138.
Here’s a conservation treatment that has continued during the stay-at-home period for our paintings conservator.
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.
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.
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.
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 tall narrow painting by a husband-and-wife pair is in the paintings conservation studio for removal of varnish and discolored retouching.
Our paintings conservator has been cleaning this idyllic view of the Seine for the past few days.
Conservation for the upcoming Duveneck exhibition continues apace.
Sometimes a painting can make its feelings known.
Later this month a group of portrait miniatures will go on view highlighting women artists and subjects.
This month a new group of paintings is on display in the Indian gallery.
This large unfinished work by Frank Duveneck is in the paintings conservation lab to be examined.
Sometimes our paintings conservator might find an ancient flyspeck on a painting.
In the course of examining this early 20th century painting by American Impressionist Walter Schofield, our paintings conservator noticed a curious thing.
By complete coincidence, three very large ships were recently at anchor in the paintings conservation studio.
The exhibition will feature a set of ten rare woodblock prints by Hokusai illustrating Kanadehon Chūshingura and two paintings from the Cincinnati Art Museum’s collection.
One of the many examination techniques used when planning a paintings conservation treatment is raking light, where a light placed at one side of the painting and the light “rakes” across the surface.
This little dish of rusty tacks shows why paintings conservators should keep their tetanus shots up to date!
This little painting measures around 5 by 8 inches.
Our paintings conservator has been removing a thick grime layer from this recently acquired folk art painting.
Our paintings conservator has been examining this little painting by John. H. Twachtman.
There was a mysterious alteration in this painting. This is a detail of the bottom (also no pun intended) right corner of a nude study by Frank Duveneck, taken while the painting was being cleaned.
Our paper conservator has been working with a large donation of 20th century Chinese paintings over the past year.
Our masterpiece by Bernardo Strozzi, David with the Head of Goliath, is currently being conserved.