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.
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.
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.
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.
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.
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.