Art conservators start by examining the painting to understand its condition and any underlying issues.

We consider the materials used by the artist, the painting's structure, its environment, previous conservation or restoration attempts, and the extent of damage or deterioration.

Using visible light, UV light, and magnification, we inspect both the front and back of a painting. In the studio, we will use an optical or stereomicroscope. On-site, a handheld microscope or jeweler’s loupe is employed.

Cleaning tests are common during the examination process, involving physical cleaning with a small brush or sponge and, sometimes, solvents to understand the surface coating better. All tests are discrete.

In some cases, the painting must be removed from its frame for proper examination, always with the client’s permission.

Art conservators meticulously document our findings, including condition issues, construction details, and provenance information like labels and signatures.

I follow the American Institute for Conservation’s Ethics Framework for treating historic and artistic works, which demands that we provide thorough assessments to clients before proceeding with treatment.

Immediate threats to the painting, like insect infestations, mold, mud, smoke damage, or flaking paint, are prioritized. Regardless of the issue, each client receives a report before committing to any course of treatment.

Each conservator has his or her shorthand for condition assessments, which help understand the painting’s history, artist's intent, ongoing conditions affecting it, and potential treatment approaches.

However, most seasoned professionals will use similar terminology. I am always happy to explain any condition terms used in my reports.

The first stage of treatment is stabilization, which might involve:

• Consolidating cracked, lifted, and tented paint

• Moisture treatments and humidity chambers

• Pest management

• Mold removal

• Structural stabilization of the stretcher or strainer

• Repairing tears

Stabilization involves techniques like feeding adhesive beneath lifted paint, using fine implements to redirect displaced paint, and sometimes applying heat or using humidity chambers.

Structural issues might require reinforcing the canvas or secondary support to prevent further deterioration and ensure stability. Removing mold and other foreign accretions is also part of this stage, overlapping with cleaning.

Mending, a subset of stabilization, involves reweaving canvas fibers, patching tears, and sometimes adding strip-lining, loose lining, or a full lining.

However, full linings are rare as they can cause further damage, including imparting their texture to the paint. They are more commonly used in outdated restoration work than in conservation treatment. Reversible materials are always used by seasoned professionals.

Over time, paintings accumulate layers of grime, dirt, and possibly discolored varnish. Some paintings may also be vandalized or neglected.

Art conservators carefully clean the painting's surface both mechanically and chemically, using sponges, brushes, picks, scalpels, solvents, solvent gels, chelating agents, swabs with moisture, and more.

Again, I follow the American Institute of Conservation’s guidelines when completing treatments.

Cleaning always occurs after stabilization to prevent further damage to delicate areas.

When the painted surface or priming is damaged, conservators fill and inpaint those areas with reversible materials to enhance readability.

The goal is not to deceive anyone about the painting’s condition but to match the original colors, tones, textures, and imagery for minor losses.

For major losses, they might outline the lost imagery instead of recreating it, with different conservators employing different approaches.

In painting restoration work, someone might “overpaint” an area of loss. This means that the restorer extended his or her paint over the artist’s original paint. As conservators, we do not do this. We only apply fills and inpainting to areas of paint loss.

Again, I follow the American Institute of Conservation’s guidelines when completing treatments.

Contrary to popular belief, conservators do not always remove and replace a painting’s varnish. Varnish removal is only necessary when it harms the painted surface, obscures it, or contradicts the artist’s original intent.

Sometimes, a varnish applied later is not intended for that particular piece, and removing it better reflects the artist’s intent.

Occasionally, a light, reversible varnish may be applied to areas needing further saturation to improve readability.

My training and experience covers oil, acrylic, and multimedia paintings on canvas, wood panels, metal, and other substrates.

I typically treat modern and contemporary paintings created between 1850 and today. I will treat both stretched and unstretched paintings. For example, I have worked on a number of Sam Gilliam's unstretched "Drape" paintings.

I primarily treat easel paintings and do not usually perform object, furniture, or mural conservation. I rarely work on paper unless the work on paper has a substantial paint layer.

However, I do offer other art conservation and preservation services for museums, galleries, foundations, auction houses, and private collectors. These include courier services, preventive conservation for all types of artwork (not just contemporary or modern art), and disaster mitigation.