The restoration and conservation of an art object aim to stop the process of degradation, to regain its aesthetic qualities, or to increase its market value.
From the smallest painting, to the largest formats, from the 15th to the 21st century, from simple handling to the most complex treatments, a restorer will know how to respond, as fairly as possible to the problem of restoration or conservation that arises.
In order to establish the condition report before any restoration treatment of paintings, the restorer uses various types of observation (direct white light, tangential light, transmitted light, microscopy, ultraviolet, infra-red, radiographs) and identification (physicochemical tests: resistance of the constituent materials, analysis of textile fibers, identification of pigments and resinous materials, etc.).
Relining, change of stretcher, consolidation of frame, treatment of varnishes, filling gaps, touch-up, varnishing, etc., all these works will be done by a serious restorer.
Respectful of the works entrusted to him, the restorer applies the fundamental rules of restoration-conservation of cultural goods for all these treatments:
• Stability : the materials used in the various treatments and interventions meet specifications particular to the restoration-conservation of cultural property
• Reversibility : the materials brought into restoration-conservation are always more fragile than the original materials so that they can be removed at any time without any material damage to the work
• Readability: the work must be able to meet specific criteria of observation and overall reading satisfying according to its initial aesthetic or utility qualities
Restoration et conservation.
