ATELIERCATHERINE POLNECQFR
Complete painting by Frans Francken II

Protocol

Frans Francken IIThe complete artwork

Care and expertise for Old Master paintings

Every painting begins with observation and diagnosis

“To restore each work’s legibility, stability and presence, while respecting its history and material”

Study and treatment of easel paintings

The aim is to understand the condition of the paint layer and support in order to define an appropriate treatment protocol.

Observe before intervening

Restoration begins with an in-depth examination of the work: analysis of the paint layer, material, alterations and transformations undergone over time. This examination is essential before any intervention, whether aesthetic or structural.

When closer observation is required, examination under ultraviolet light provides valuable information. In particular, it can reveal certain areas of overpaint, retouching and surface alteration, helping to understand the work’s history and guide treatment.

Losses and lifting flakes of paint
Losses and lifting paint
Face under ultraviolet light revealing overpaint
Earlier overpaint visible as darker tones under ultraviolet light.

Types of deterioration

Varnishes

Recovering contrast and chromatic harmony without weakening the original materials.

Recovering legibility and brilliance

Cleaning paint layers and reducing old varnishes restore brilliance, recover contrasts and re-establish chromatic harmony. This stage reveals the richness of the colours and the refinement of the details.

The application of appropriate, reversible and non-invasive varnishes completes this work, always respecting the original materials and the painting’s structure. Every gesture is considered to preserve the work’s authenticity while improving its legibility.

Before any treatment, tests are carried out to identify the nature of the varnish. It may consist of natural resins, such as dammar or mastic, or synthetic resins. This stage makes it possible to determine the most appropriate treatment method. Varnish reduction is always carried out gradually and meticulously, but the varnish’s composition can make this operation particularly complex, requiring additional time and precautions.

Varnish-reduction test at the edge of the artwork
Varnish-reduction test at the edge of the artwork
Small circular varnish-reduction test on white drapery
Small circular varnish-reduction test on white drapery

Overpaint

Some areas of overpaint are visible to the naked eye, particularly when they have been poorly executed, extend beyond the original area, or have changed colour over time. When these interventions are less obvious, examination under ultraviolet light can help reveal them, particularly if they are not too old.

Overpaint visible to the naked eye
Overpaint visible to the naked eye
Overpaint extending beyond the original area and impairing the legibility of the paint layer.
Overpaint extending beyond the original area and impairing the legibility of the paint layer.

Lifting paint flakes

Before any treatment, different tests are carried out to determine the most suitable adhesive for reattaching lifting paint flakes. The choice of adhesive and application method depends in particular on the nature and sensitivity of the materials and the extent of lifting.

Lifting paint flakes exposing the canvas
Lifting paint flakes exposing the canvas
Lifting and cracking of the paint layer on a face
Lifting and cracking of the paint layer on a face

Support and structure

The condition of the support is essential to its conservation

Canvas, panel, copper and card

The support is the foundation of every painting, and its soundness determines the work’s longevity. Whether canvas, wood or copper panel, or card, each support has its own vulnerabilities: tears, splits, uneven tension or deformation.

Each intervention aims to stabilise the structure, reinforce vulnerable areas and prepare the painting for long-term conservation. The techniques used always respect the integrity of the original material while safeguarding the painting for the years ahead.

Canvas: side view of the deteriorated support
Canvas: support treatment required.
Copper: deformation of the support seen in profile
Copper: deformation of the support seen in profile
Wood: sixteenth-century Italian panel damaged by wood-boring insects
Wood: reverse of an oil painting on panel before treatment.
Board: damaged corner of the support
Board: damaged corner of the support

Tears

Localised structural treatments stabilise tears and restore the continuity of the canvas.

Horizontal tear seen from the reverse of the canvas
Horizontal tear seen from the reverse of the canvas
Tear with deformation of the canvas.
Tear with deformation of the canvas.

Other forms of deterioration

Burning of the paint layer, causing blistering and lifting of the material.
Burning of the paint layer, causing blistering and lifting of the material.
Blister between the original canvas and the lining canvas.
Blister between the original canvas and the lining canvas.
Mould growth on the paint layer following water damage.
Mould growth on the paint layer following water damage.
Deformation of the canvas support, particularly pronounced at the corners of the stretcher.
Deformation of the canvas support, particularly pronounced at the corners of the stretcher.

Preventive conservation

Protecting the work for the future.

Preventing risk

Preventive conservation consists in protecting paintings before intervention becomes necessary. It includes appropriate measures to limit environmental risks: light, humidity, temperature fluctuations and handling.

Advice is provided on hanging, storage and transport in order to protect the painting, its colours and details over the long term.

For certain fragile works on canvas or wood panel, climate-controlled housing can be created with a specialist atelier. The system limits the effects of humidity fluctuations through optical-quality glazing mounted in an appropriate frame and a reverse protection system that helps stabilise the artwork’s microclimate.

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