The recent online lecture "Approaches in Structural Repair for Canvas Paintings: historical and current practice" outlined the mechanical behaviour of canvas paintings, problems with lining, treating problems independently, alternatives to lining, and materials for framing. This information aimed to provide an introduction to alternative methods for the structural repair of canvas paintings, as well as discussing various treatments and previous practices.

Sharing Insights on Structural Conservation of Easel Paintings at Northumbria University

I recently had the privilege of giving an online lecture for the MA Conservation of Fine Art (Easel Paintings) students at Northumbria University. The course, known for its focus on conserving easel paintings (and my Aluma Mater), offered me the perfect platform to share my knowledge and experience in structural conservation of canvas paintings.

The Essence of Structural Conservation of Canvas Paintings

Structural conservation of canvas paintings is an essential component in the broader field of art conservation. It involves understanding the materials that make up the painting, how these materials age over time, and the techniques required to ensure their stability. During the lecture, I highlighted the significance of maintaining a painting’s structural integrity while preserving its aesthetic and historical value. I covered topics such as:

• The science behind the deterioration of materials in easel paintings.

• Best practices in consolidating fragile canvases and repairing damages.

• Case studies demonstrating successful interventions and treatments.

A Dynamic Discussion

While my presentation provided a comprehensive overview of the technical aspects of structural conservation for canvas paintings, the most rewarding part was the vibrant discussion that followed. The students were engaged and eager to explore various nuances of the field, especially the concepts behind Mist-Linkng. We delved into more specific topics such as:

• Ethical considerations when making treatments.

• The balance between conserving a painting and maintaining its original character.

• The impact of modern materials and technologies on conservation practices.

The range of questions, from technical to philosophical, made for a stimulating exchange of ideas. It was clear that the students were not only passionate about art conservation but also keen to push the boundaries of their understanding.

Looking Ahead

This session reinforced for me the importance of collaboration and dialogue in the conservation community. Sharing insights with emerging conservators is always an inspiring experience, as it allows for the exchange of fresh perspectives. I am looking forward to future interactions with the talented students at Northumbria University and am excited to see how their careers will shape the future of art conservation.

If you’re interested in learning more about the MA Conservation of Fine Art (Easel Paintings) at Northumbria University, you can visit their course page.


https://www.northumbria.ac.uk/study-at-northumbria/courses/ma-conservation-of-fine-art-easel-paintings-dtfcfp6/