We’ve had this painting by American Impressionist Theodore Robinson (1852–1896) listed for varnish removal for a while. That’s because curators and conservators know that Impressionist artists rarely varnished their paintings.
Another work recently conserved for the British catalog project, The Approaching Storm by English artist Thomas Barker (1769–1847), presented a challenge.
When I read the curatorial file for this painting, I discovered a remarkably expansive biography, not just of the painting itself, but also of the sitter and the artist. What is most interesting to me, though, is the sitter’s story.
We recently cleaned Sunlight on Prospect Street, Gloucester, Massachusetts by Edward Hopper (1882–1967).
Painted by the French Impressionist Pierre Auguste Renoir (1841–1919), Fog on Guernsey recently paid a visit to our lab for cleaning—and it let us in on a charming secret.
This portrait of an anonymous lady by an anonymous British artist was so dirty that only the most basic details were visible before conservation.
These three portraits by Sir Joshua Reynolds (British, 1723–1792) have come out of storage and into the conservation lab for the museum’s British catalog project . They are due to be examined, and perhaps treated, before heading to our photography department for high resolution imaging.
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.
Here’s another close encounter in the paintings conservation studio that you would be unlikely to see in our galleries.
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 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.