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A typical, traditional oil or acrylic painting
is composed of a number of different materials.
It may have a canvas support that is secured to
a wooden stretcher frame (or strainer) or to a
paperboard, or it might have a wood or
fiberboard panel support. The support material
normally has one or more “preparation” layers
applied to its surface before the various paint
layers are applied. Often, varnish is applied to
the finished paint surface. The painting may be
framed or the artist may intentionally have left
it unframed. Each material in a painting will
have its own physical reaction to handling and
environmental conditions. Each material will
also contribute, to a greater or lesser degree
depending on the circumstances, to the overall
condition of the painting.
This general overview does not attempt to
discuss all materials, environmental conditions
or damages to paintings, nor all actions that
could prevent damage. Paintings on other support
materials not covered in this article (for
example, various boards, metal, ivory, etc.) may
require other considerations and solutions than
are offered here.
Artworks on paper supports, created using
materials such as watercolors, pastels, charcoal
or ink, are covered in “How to Care for Works of
Art on Paper”.
Types of Damage
The damage or deterioration found on paintings
displayed in our homes is usually seen as cracks
in the paint, weak or distorted canvas, torn
canvas, cracked or split wood, loose or missing
paint, or a discolored, darkened or faded
surface. These can result from a number of
factors such as handling or accident,
inappropriate levels, or changes in levels, of
relative humidity and temperature (especially if
the changes occur quickly or frequently), direct
sunlight, the accumulative effect of natural or
artificial light and inappropriate or inadequate
framing. Sometimes damage can result from an
artist’s particular use or mix of materials.
Preventing Damage
There are a few things you can do to avoid or
reduce some types of damage in a painting.
Handling and Moving
Handling is a major cause of damage to artworks.
Before handling a painting, give it at least a
cursory examination to see if it can be moved
safely, without damage. Each handling increases
the chance of accident, and moving a painting to
a new location can have detrimental effects due
to a change in environment. Paintings are
especially susceptible to cracking when they are
in a dry environment (for example, in a dry
attic or in a heated household in a northern
winter) or when exposed to cool-to-cold air. Do
not transport a painting in an unheated vehicle
in cold weather. It is best to transport a
painting when the temperature and relative
humidity are likely to be more moderate, which,
in a northern climate, is usually in spring or
autumn.
When it becomes necessary to handle or move a
painting, avoid touching the paint surface or
the back of the canvas. Do not apply any kind of
pressure (even finger pressure) to the back of a
canvas -- cracks in the paint will likely
develop after a time. Regardless of when or by
whom a painting is transported, the painting’s
wrapping or package should be:
• moisture and water resistant;
• wrapped and sealed in such a way to guard
against changes in relative humidity;
• puncture and dent resistant, both front and
back;
• cushioned against possible shock from bumps or
drops during handling and transport; and
• insulated against cold or extreme heat and
against quick changes in temperature.
Backing Board
Once you have acquired a painting on canvas, a
good first protection measure is to attach a
rigid backing, such as a corrugated/fluted
plastic sheet, to it. Do this by screwing the
backing material onto the back of the stretcher.
This may be one of the most beneficial things
you can do for your painting. This backing will
serve several purposes. It will help reduce the
effect of rapid changes in relative humidity
around the painting, while providing some
physical protection from pressure or direct
contact against the canvas back, and will reduce
vibration caused by handling or moving. The
procedure of attaching this backing can be
damaging to the paint surface if not done
correctly. Please contact CCI for directions and
advice. CCI Notes 10/10 gives detailed
information and instructions on backings.
Framing
A frame is not only an aesthetic part of a
painting, it also helps protect the more
vulnerable parts of a painting from direct
handling. It also provides some rigidity that
helps reduce damage if the painting is
accidentally dropped. An original frame may have
value in its own right. Frames should not be
discarded or altered without careful
consideration.
Your painting will probably already be framed.
If not, and if it is meant to be framed, obtain
a suitable frame that will hold the painting
securely, but not too tightly. The painting will
need a bit of space to expand and contract
slightly due to changes in the environment
around it. Do not use nails to secure the
painting to the frame. Instead, use metal
mending plates that span the gap between
painting and frame. Screw the plates into the
frame only, not into the stretcher or strainer.
If glazing (glass or acrylic) is used in a
frame, it should not touch the paint surface.
The frame can be fitted with a spacer to hold
the glazing away from the image. The rabbet edge
of the frame, the surface on which the painting
edges rest, should be padded to prevent abrasion
to the paint. See CCI Notes 10/8 for detailed
information and instructions on framing. If a
painting is not meant to be framed, the painting
is more vulnerable to damage. Take extra care in
handling and make sure hands are clean in order
to prevent fingerprints and natural oils from
being deposited on a painting’s edges.
Display and Storage
When considering a location to display artwork,
determine if the object will be in harm’s way.
Is it a location where the painting might be
prone to physical damage? Is it a busy hallway?
Do people touch this wall or lean against it? Is
the location in an area affected by splatters
from beverages or foodstuffs, or by misting and
watering nearby plants?
Try to display your paintings in a place where
the relative humidity and temperature levels are
fairly constant, not very high (above 60%) or
low (below 40%), and where the levels do not
change quickly. Rapid environmental changes will
occur in locations near an open door or window,
or in locations directly affected by the airflow
from heating and cooling ducts or radiators. The
space above a fireplace is normally a display
place of honour, but it is not the best choice.
The environment at the chimney can fluctuate. It
can become hot, very dry from the heat and
somewhat sooty as a result of using the
fireplace. Mount paintings only against outside
walls that have a good vapour-barrier and
insulation. Secure paintings to walls using
picture hanging hooks of the appropriate size
for the weight of the painting. Hooks are more
reliable and do less damage to walls than nails.
Using two hooks per painting makes it easier to
hang the painting straight and keep it level.
Avoid storing paintings in a damp basement or a
dry attic. A better choice is to keep each
painting protectively wrapped (and securely
sandwiched between two pieces of rigid sheet
material, for example, cardboard or corrugated
plastic, to protect them from touching nearby
objects) and stored vertically in a closet in a
more central area of the house.
Daylight is very high in radiation that is
damaging to paintings. Totally avoid this
exposure if possible. Watch that there is never
any direct sunlight on paintings at any point
during the day. Indirect or reflected daylight
is better than direct; the further away from the
painting, the better. Even “normal” natural or
artificial light levels for prolonged periods
will cause fading. Directing lights at the
painting can cause damaging hot or warm spots on
the paint surface. As a general rule, display
your more valued artworks in areas that receive
less direct or prolonged light. Fading or colour
change can go unnoticed for a while, but over
time it may become quite noticeable. Light
damage cannot be reversed.
The paint surface will, over time, accumulate
dust and pollutants, airborne grime from cooking
oils, particles from smoking and insect
“specks”. If displayed in a dining room, a
painting may receive accidental splatter. In
this case, it may be best to protect a painting
by giving it a better location or by using a
glass or acrylic sheet in the frame to shield
the paint. CCI Notes 10/3 and 10/4 give detailed
information on storage and display and on
environmental guidelines.
Cleaning
Some simple cleaning tips that can be followed
at home
Like other objects, artworks will collect dust
and dirt over time. Dust can be removed using a
very soft brush. Avoid feather and sheep skin
dusters as their fibers attach to the surface.
Check for flaking paint before dusting, and do
not attempt to dust if the surface appears
damaged ot unstable. It is also important to
clean the verso of the artwork in a similar
manner; however the artwork should be removed
from display and laid flat on a clean surface to
do this. Do not attempt any repair yourself.
This is a process that should only be carried
out by fully qualified, professional
conservators.
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2008
Art N Frame Corporation