Fine Art Restoration - The Retouching Process. Source Baumgartner Restoration https://buff.ly/2A2tgy1 | Cubebrush

An in-dept look at the entire conservation process Credit Baumgartner Fine Art Restoration Instagram.com/baumgartnerrestoration YouTube.com/c/BaumgartnerRestoration - | It's Amazing world

The retouching process is arguably the most fun and difficult part of any conservation. While it’s exciting to literally reassemble the image and make the damage disappear, it’s also the thing that the viewer will see first. All of the structural work is hidden and often behind the image yet the image itself is the whole point. If the retouching isn’t spot-on then no amount of other work will matter to the viewer. This painting of a canal had a pretty nasty compound tear and required a lining to

An oldie but goodie. It often seems like there’s a debate about what retouching method to use to achieve the best results. There are many different approaches in many different theories about how much the conservator should retouch and in what manner. Ultimately however the final decision must be made in accord with the client’s wishes. That is, if the client wishes the image to be unified and the conservator chooses a method of retouching that does anything short of that, it would be considered

Gooooood morning! The materials or interventions that were common in the past are now often seen as failures or inappropriate but that’s a somewhat reductive perspective. Before the advent of synthetic, stable and reversible adhesives, refined animal glues such as hide glue, sturgeon glue or in this case rabbit skin glue were not only commonplace but the peak of technology. As such, their use was considered at the time totally ok. Fast forward to today and the same can’t necessarily be said as w