Introduction | Framing | Lighting | Temperature & Humidity
Cleaning | (Re-)Varnishing | Handling | A Final Word | References
As Rembrandt said, "Keep your nose out of my painting...the smell of paint is bad for you!" In other words, please step back a few feet for the full effect.
This work of fine art has been painted with the highest quality oil colors, manufactured to be permanent, by industry standards. Although all oil paints are inherently susceptible to cracking, yellowing, and corroding canvas, I have taken the proper precautions in my choice of materials and methods of painting (such as painting "fat over lean") to minimize these risks. In addition, there are certain things that you can do to keep the restorer at bay for years to come (When the time does come, you should be able to find a reputable restorer or conservator through a reputable framer).
For best results, seek the services of a professional framer. A professional can offer selection from and advice on a wide variety of styles, from traditional to contemporary. In addition, a professional will use materials that will enhance not only the appearance but also the longevity of your work of art.
An often overlooked but always vital component of a properly framed painting is a substantial backboard, to protect against airborne grime, environmental extremes, and physical impacts (as during re-hanging or even from excess picture wire).
A nice addition to a frame is a small brass plaque engraved with the name of the subject and drilled with holes for attachment, as available at a nominal price from trophy or award suppliers.
Note that the number one reason insurance claims are filed for damage to paintings is that they simply fell off the wall! Use heavy-duty hanging supplies (such as D-rings, instead of screw eyes, and two wires from the back of the frame and two nails in the wall, instead of one) and check them periodically.
This painting was created indoors, under artificial light supplemented with filtered daylight, and is best viewed indoors, out of harsh, direct light.
In particular, avoid exposing your painting to direct sunlight or any other source of intense and/or ultraviolet light (as from certain fluorescent lights), which will inevitably fade the colors of your painting.
Conversely, indirect light will reduce glare off the surface and enrich the contrasts and colors of the painting as well as the "presence" of its subject: Your work of art should "come alive" in any area with soft, diffuse lighting.
Paintings should be protected from extremes of temperature and humidity, as from spotlights, doors, windows, kitchen or bathroom facilities, heating/cooling ducts, or even poorly insulated external walls (The traditional warm, sooty spot over the mantle is far from ideal). The standards for conservationists are a temperature of about 72°F and a relative humidity of about 50%.
The linen canvas may periodically "relax" and tighten — becoming loose when air is dry, taut when air is damp — this requires no attention. However, should the canvas permanently sag over the years, or should any other wrinkles or bulges appear, seek the services of a reputable restorer, who may choose to "key out" the stretcher (enlarging it slightly by inserting special wedges into the corners from the rear).
Exposed to dust, dirt, smoke, and smog, the painting may need to be cleaned occasionally.
On your own, you may use a very soft, broad bristle brush (not a vacuum or even a feather duster) to clean off dust, brushing horizontally and vertically.
However, for more thorough cleaning, it is recommended that you contact a reputable restorer, who will use cleaning solutions, tools, and techniques strong enough to remove the grime but gentle enough to not harm the painting.
To provide permanent protection, most oil paintings are varnished, from six to twelve months after they are dry to the touch (the thicker the paint, the longer the waiting period). Although I can perform this service for you, if logistically possible, you may once again wish to contact a professional restorer. The best, conservation-quality varnishes, such as Gamvar®, are completely clear and are removable after many years, taking with them accumulated grime. Matte finishes reduce glare; gloss finishes not only establish a surface sheen but also enhance depth of color (typically preferred).
Handle works of art one at a time and as little as possible. Move them no farther than necessary.
Consult a reputable carrier that specializes in transporting artwork for crating and shipping a painting (preferably framed) any distance.
Take your time, and make no sudden movements.
Prevent accidents by making sure others in the vicinity know you are moving a painting.
Carry paintings vertically.
Wear cotton gloves when handling unframed paintings or gilded or painted frames.
Check to make sure a painting is securely fastened in its frame before picking it up.
Handle frames by their strongest parts, and do not set a frame upon any of its fragile decorations.
Get several people to help handle a large painting, which is best moved on a small wheeled dolly.
Carry a small painting on one hand and hold it securely (without crushing it) with the other.
Do not touch the front or back of a painting with gloved or ungloved hands (particularly a new work, whose surface may still be soft and tacky). Do not let any object contact either surface.
Do not put your fingers between a stretcher bar and the canvas.
Because oil paint films tend to be brittle, becoming more so over time, a painted canvas should not be taken off its stretcher bars and flexed, rolled, or unrolled unless it is absolutely necessary, and then only by a trusted professional.
Before putting a work of art down, be sure you will be able to pick it back up from that location.
Before placing a painting face down on a table, make sure the area is free of debris and cover the area with clean tissue or cardstock.
Do not place a painting directly on the floor — make sure it is securely propped up and, if leaning against a wall, at not too steep an angle.
If storing a painting while a room is redecorated, it is best to lock the painting away, not just set it in the back of an unsecured closet, where anyone may throw anything.
And if your painting ever is damaged, take it as soon as possible to a reputable restorer, who in many cases will be able to repair anything from a minor dent to a major tear.
Properly cared for, your oil painting should last for generations. If you appreciate the image and the spirit of your composition, please tell your family and friends. And if your original work of art was commissioned for you as a gift, please appreciate that you are evidently someone very special. Enjoy!
CONSERVING PAINTINGS, by Allan Byrne, Craftsman House, New South Wales, Australia, 1995.
HOW TO TAKE CARE OF YOUR PAINTINGS, by Caroline K. Keck, Charles Scribner's Sons, New York, 1978.
