| When a museum or a client brings a painting into the laboratory, we begin a careful examination to determine its condition. This includes a visual examination and may require the use of microscopy and additional scientific tests including x-ray, ultraviolet fluorescence, infrared inspection, cross-section analysis and scanning electron microscopy. For each painting, careful notations of its progress are kept, resulting in a full documentation and photographic record for the client and for future use by conservators. |
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This cross-section pigment analysis shows smalt in an oil medium. It is possible to determine a pigment by an examination of its form and structure. We are able to use such information to understand the artist's materials and to date a painting. Also, this information is useful in determining a painting's authenticity and to help recognize earlier restoration and/or conservation treatments. From this, we are able to determine the most appropriate course of action. |
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Many essential treatments in conservation are carried out on the specially designed vacuum/heat table shown in the image to the left. This enables us to place a painting simultaneously under carefully controlled heat and pressure. This is one of only a very few vacuum/heat tables in the Southeast. |
| Over-paint designates a layer of paint that does not belong to the original but that was added later. Often it has darkened and discolored. It does not represent the original intent of the artist and changes the character of the painting. In the images above, we carefully removed the over-paint from the background of this painting, using a surgical scalpel and with the aid of magnification to distinguish the various layers. |
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To the left is a detail from the painting The Visitation, most probably by Massimo Stanzione, which required extensive scientific analysis as part of its conservation treatment. |
