The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1924-08-19
THE ART OF ART RESTORATION

held back flat, permanently, and
the cracks then eliminated.
1t may seem strange that TINS
branch Of art should be pursued
by an artist, as few artists prac-
tice the art of restoration, unless
perhaps, 1 took to it through an
inbarn initiative ability OF art
technique, discovered during my
student days in Paris in copying
old masterpieces, as well~ as the
desire to improve upon the restor-
atoms / noticed in the galleries
which were an eye-sore to the
rest OF the paintings in question
and hurt my sense OF the perfect
and beautiful.
find this form Of art very
interesting and a. diverting rest
and change. 1t Is sometimes as
fascinating to discover as 1t is
TO create, and after discovery %
recreate the noble efforts OF great
geniuses and bring to light things
Of beauty hidden under coats OF
CRIME and varnish which, need
less to say, must be carefully re-
moved so as not to remove the
underlying painting in so doing
as well--or to see a disputed or
doubted signature appear. Many
signatures of importance are often
lost in processes Of so-calied restor'
alton. A great many cases come
to me that suffer from the re-
suit of such, and where badly
made filings have been made
they must be, cut out--remade ana
eliminated--in short veritable
surgical operation must be per
formed.
Paintings may indeed be Xix
ened unto people suffering from
the ravages OF various ailments,
and require special and individual
treatment as the nature Of the
case may require.
A few words on the care Of
paintings in homes may not be
amiss.
OF course, II is always bad for
paintings to hang over or near
fire-places or radiators and also
in damp rooms.
Occasional nourishing with turs
pentine and oil-turpentine one
part, linseed oil, two parts-is to
be recommended. This should be
allowed to soak well into the
painting before any remaining sur
plus be removed.
When exposed to dampness,
fumes of any kind. smoke, ETC.,
the surface takes on q foggy ap-
pearances which Ii best removed
by a professional.
When paintings have been
cleaned by the usual soap-and-
water method. the oil Is extracted,
leaving the painting dry. Robbed
of this element 1t becomes more
and more brittle, which causes Il
to crack. To offset this, the paint.
ing should be. rubbed over with
turpentine and linseed oil in the
proportions given, allowing this
to soak in for not less than TWEEN.
ty-four hours. This will, to a Ger.
tain degree, restore the extracted
oil. Any surplus oil should then
be thoroughly removed with pieces
Of soft muslin. Then, IL the paint.
ing requires to be vanished, the
surface should always first be
slowly and thoroughly warmed,
preferably in the sun. to q tenn.
perature OF about 100 degrees,
using light mastic varnish II
the painting is year old. n under
a year old, French retouching var.
nish. II the paintings are
thoroughly free from any sugges.
ton of dampness 1t is not neces.
sary to warm the surface, but II
Is always safer, and a dry day
should also be chosen, BY warm.
ing the surface of the painting,
any possibility OF lurking damp.
ness is eliminated which would
give fogginess. called bloom"
20 the varnish, which would then
have to be removed before the
painting could be properly re-
vanished Surface dust and dirt
may best be removed with turpen.
tine and oil. but It Is always
great risk to attempt going be.
vond that When It IL necessary
TO remove dirtimpregnated var.
nish. Il cannot he, done safely at
home. The top finish. of the under,
wing painting Is often seriously
damaged thereby.