A Look at Painting Preservation
Most people, it seems, have some attraction to really impressive art. Whether we be serious collectors or mere admirers on the internet, when we come across a nice painting that meets our taste, our reaction tends to be “wow.” That’s part of the joy of art – the excitement it elicits when we’re in the presence of true talent. But what many of us don’t think about is the preservation of art. The tendency may be to think that once an art piece is made, it’s somehow invincible, indelible. That would be nice, but valuable art should be treated with care and properly protected for long term enjoyment.
This is a topic that’s worthy of books and many long explications, but for now I’d like to just share a couple thoughts about varnishing paintings. Oil and acrylic paintings, especially on canvas or on panel, often benefit from a coat (or two or three) of removable glossy varnish to protect them over the years. Being removable means if the surface of the painting gets really dirty, that old varnish can be removed and replaced by a fresh new coat. This can be risky business though, and should only be done by a professional conservator.
The wolf picture in the above photo is one of my paintings which has not only received an ample layer of varnish but also an “isolation coat” or “isolation layer,” as it’s sometimes called, underneath. This special layer is not varnish but a crystal clear coat of acrylic gel, carefully applied to the artwork itself before the varnish is brushed or sprayed on. While the right kind of varnish is removable, this isolation coat is non-removable, becoming a permanent part of the painting. The purpose here is to apply an additional barrier of protection, so that if the varnish ever needs to be removed, it may be done without ever coming in contact with the actual colors in the artwork, helping to avoid risk of damage to the image. While applying the isolation layer requires great care, I consider it well worth the effort for the conservation value it provides. The isolation coat, in my opinion, should only be applied by a professional (preferably the artist), or someone who really knows what he or she is doing. Remember, it’s permanent and will likely affect the appearance of the painting to some degree. It’s also critical to understand that the isolation coat I described is only for acrylic paintings and should never be applied to oils.
Speaking of oils, oil paintings need to dry much longer than acrylics. Either medium should be thoroughly dry and completely “cured” before varnishing. While this can be a matter of days or weeks for an acrylic, the general recommended time frame for an oil painting to thoroughly cure is six months to a year. Patience is a virtue when waiting to get that nice glossy layer on our oil paintings!
The angle of the photo showing the wolves eliminates any glare from light bouncing off the varnish, so you can see how clear the isolation coat and varnish layers really are. If anything, I find they intensify the colors in the artwork. The other photo, showing the eagle painting, has light reflecting off the artwork, indicating the even, glossy sheen of the varnish. In addition to the protection it affords, I love the fresh and lasting “wet look” that glossy varnish imparts to artwork, and the way it crisply preserves the appearance of every detail. It should be noted however that varnish doesn’t have to be glossy. “Matte” varnish is also available and is made to be non-reflective. Some brands of varnish even claim they help protect against UV damage to paintings over time. This is yet another reason to consider the use of this removable barrier.
While not everyone believes in varnishing paintings for aesthetic or other reasons, I’m grateful for the availability of these materials and methods. The hard work and inherent beauty in original paintings deserves to be protected, and varnish can be a great way to do that. The peace of mind and lovely “finish” resulting from varnish make it like the cherry on top of a beautiful cake!