Paintings. Paintings are usually on wood panels or canvas and have a mul-
tilayered structure in which one or more of the components may break down.
SUPPORTS
.
Both wood and canvas are subject to dimensional changes with
variations in relative humidity and temperature. Panels, especially if composed
of several pieces of wood joined together, are prone to splitting and warping. In
the past this was corrected by applying a wooden framework (cradle) to the
back, or by reinforcing joins and splits with wooden buttons; these methods
may, however, cause further damage by introducing new stresses. Canvas
weakens with age, particularly at points of high stress such as the edges where it
is attached to the stretcher, and becomes incapable of supporting the ground and
paint layers. The usual remedy is to line the painting; this involves attaching a
new canvas to the back of the original with a glue, resin, or wax-based adhe-
sive. The majority of paintings more than 100 years old have been lined, some-
times as a preventive measure. Nowadays much research is carried out into im-
proved lining methods, which use synthetic fabrics and adhesives; nevertheless
lining is avoided whenever possible because it entails the risk of permanently
altering the appearance and surface texture of the painting. In conditions of high
humidity (above 70 percent relative humidity) supports ma be attacked by mold
or insects, requiring fumigation with fungicide or insecticide.
GROUND AND PAINT LAYERS
.
Movement of the support and faulty painting
technique may cause cleavage o paint and ground, which cracks and becomes
detached. If unchecked this will result in paint loss, therefore loose flakes
must be consolidated with adhesive and reattached.
VARNISH
.
Natural resin varnishes, and some synthetic varnishes, eventually
become yellow, brittle, or cloudy, and the paint surface is dulled or concealed.
Removal of varnish should only be carried out by a conservator.