How to Take Care of Your Paintings

How to Take Care of your Paintings

The first thing that a collector can do to ensure that his or her paintings are in good condition is to examine them periodically and carefully. Look for signs of deterioration that may require treatment. If it is a stretched painting, is the canvas buckled at the corners, split at the tacking edge or looking very brittle on the turned over edge? If so, the painting may need lining or at the very least the edges may need lining. Look for tiny holes, which could possibly mean wood boring insects in the stretcher. If seen, consider having it stretched on new wood. Are all the keys (wooden wedges) in place? Loose keys can be easily felt from the front and should be carefully eased out. Replace the missing ones and check the canvas tension. The painting should be taught, not wavy or buckling. Tapping in the keys to improve tension should not be done too forcefully. Too much pressure can cause the painting to split at the turned over edge. Is the paint layer flaking or losing particles of paint? If so, lay the painting flat in a safe place until it can be fixed. Is the paint cloudy or opaque looking? The humidity may be too high or the painting once was stored in a very humid environment. Finally, check the hardware. Is the wire cord frayed and are the brackets and screws securely attached? Can the picture hook hold the weight of the painting? A heavy picture requires two hooks. I can attest to the importance of these issues, having restored many paintings that have been damaged from falling right off the wall.

When carrying paintings, avoid holding a painting by the top edge of the frame. It is better to lift the painting from the outer edges or from underneath. Be careful not to lift an ornate frame by the elaborate moldings as they can easily break off. Also, standing an ornate frame on the floor will generally result in broken moldings. Reattach any broken bits with white glue before they are lost. In order to prevent accidental knocks to the back of a painting, a piece of Fome-Cor (archival backing board) cut to the size of the painting can be attached to the back of the stretcher. At issue is whether or not to cut holes in the Fome-Cor before securing it to the painting to allow for air circulation. The AIC believes this sets up a detrimental microclimate behind the picture and does not recommend it.

Dust and lint can be removed with a soft natural hair brush or soft cloth. A piece of velvet works very well, however do not do this if there are any signs of loose or flaking paint as they will catch and be pulled off. Any cleaning should be done by a trained restorer.

Avoid hanging paintings over a fireplace or a heater because of exposure to soot and heat. Likewise they should not be hung directly below air conditioning ducts or in direct sunlight. Glazing the glass or applying window tint is recommended if need be. Halogen or fluorescent bulbs emit ultraviolet light which can fade pigments but ordinary incandescent bulbs are considered safe to use. Overhead spotlights or tracking is a safer way to light paintings than lights that hook on the top. As the attached lights are turned on and off, the heat given off can adversely affect the painting by causing uneven contraction and expansion. Expansion and contraction in old and brittle paint may cause cracking or separation from the ground or preparatory layer. It is best not to hang paintings on uninsulated outer walls because of the danger of condensation. If need be however, put rubber spacers on the back to prevent moisture from being trapped behind the picture. Kitchens and bathrooms also are not good environments for paintings because of smoke and humidity.

When storing paintings, be mindful of the environmental conditions. Attics and basements are not good because they are excessively dry or damp and lack good air circulation. Concrete floors are terrible for paintings as dampness is absorbed up from the concrete. When stacking paintings horizontally, always use pads between them and under them. Be careful the wire and hooks from one are not protruding into another. If many paintings are stored, consider building racks to keep them separated.

Changes in temperature effect the relatively humidity and thus the expansion and contraction of a painting on canvas. As the temperature and humidity climb, a painting will be visibly more slack on its stretchers. When the humidity decreases the canvas begins to tighten and appear more taught as it should be. Generally, this alternate relaxing and tightening will in time cause the paint to crack and sometimes let go, hence lifting and flaking particles of paint. In general, gradual temperature changes are not as harmful as severe ones. Optimally paintings should be kept at about 65-75 degrees F.. The relative humidity should be generally kept at between 40-70%, which can be accomplished by setting the air conditioner at no higher than 78 degrees. When the humidity goes over 70%, molds can develop and attack both the front and back of the painting. In such a case the painting needs to be professionally treated to kill the mold.

My advice: in Florida, if you close up your house in the summer, it really is important to have someone check on it periodically. Hopefully not, but the AC can quit, skylights can leak etc. while you were away!

RESOURCES

‘Caring for your Paintings’ brochure, American Institute of Conservation (AIC)

Stout, George L. The Care of Pictures Dover Publications, New York, 1975

How To Take Care of Your Pictures, A primer of Practical Information, Keck, Caroline,

Museum of Modern Art and Brooklyn Museum, 1954