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Phase I: Conservation exam and photographic documentation

A practical case carried out in the conservation studio of the Thyssen-Bornemisza Museum, on a painting of 19th Century artist, François-Auguste Biard, where we faced the elimination of the lining it underwent, probably sometime at the beginning of the 20th Century, and which had caused very accute deformations on the original support. Following the department’s intervention protocol, we will see the different phases that make up a restoration treatment. Conservation exam, the taking of photographic documentation, sample analysis and laboratory evaluation, the planning of an intervention strategy, the restoration treatment, etc. In this particular case, we set up an alternative cleaning method of the reverse using Agar gel, and a cleaning method for the obverse with resin soap and paper barrier.

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Phase II: Laboratory evaluation. Intervention strategy

A practical case carried out in the conservation studio of the Thyssen-Bornemisza Museum, on a painting of 19th Century artist, François-Auguste Biard, where we faced the elimination of the lining it underwent, probably sometime at the beginning of the 20th Century, and which had caused very accute deformations on the original support. Following the department’s intervention protocol, we will see the different phases that make up a restoration treatment. Conservation exam, the taking of photographic documentation, sample analysis and laboratory evaluation, the planning of an intervention strategy, the restoration treatment, etc. In this particular case, we set up an alternative cleaning method of the reverse using Agar gel, and a cleaning method for the obverse with resin soap and paper barrier.

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Phase III: First part of the restoration treatment

A practical case carried out in the conservation studio of the Thyssen-Bornemisza Museum, on a painting of 19th Century artist, François-Auguste Biard, where we faced the elimination of the lining it underwent, probably sometime at the beginning of the 20th Century, and which had caused very accute deformations on the original support. Following the department’s intervention protocol, we will see the different phases that make up a restoration treatment. Conservation exam, the taking of photographic documentation, sample analysis and laboratory evaluation, the planning of an intervention strategy, the restoration treatment, etc. In this particular case, we set up an alternative cleaning method of the reverse using Agar gel, and a cleaning method for the obverse with resin soap and paper barrier.

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Phase IV: Reverse: Application of a new cleaning method

A practical case carried out in the conservation studio of the Thyssen-Bornemisza Museum, on a painting of 19th Century artist, François-Auguste Biard, where we faced the elimination of the lining it underwent, probably sometime at the beginning of the 20th Century, and which had caused very accute deformations on the original support. Following the department’s intervention protocol, we will see the different phases that make up a restoration treatment. Conservation exam, the taking of photographic documentation, sample analysis and laboratory evaluation, the planning of an intervention strategy, the restoration treatment, etc. In this particular case, we set up an alternative cleaning method of the reverse using Agar gel, and a cleaning method for the obverse with resin soap and paper barrier.

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Phase V: Obverse: Application of a new cleaning method

A practical case carried out in the conservation studio of the Thyssen-Bornemisza Museum, on a painting of 19th Century artist, François-Auguste Biard, where we faced the elimination of the lining it underwent, probably sometime at the beginning of the 20th Century, and which had caused very accute deformations on the original support. Following the department’s intervention protocol, we will see the different phases that make up a restoration treatment. Conservation exam, the taking of photographic documentation, sample analysis and laboratory evaluation, the planning of an intervention strategy, the restoration treatment, etc. In this particular case, we set up an alternative cleaning method of the reverse using Agar gel, and a cleaning method for the obverse with resin soap and paper barrier.

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Halons are widely known as extinguishing agents in the field of fire prevention and extinction. Their composition consists of saturated hydrocarbons in which hydrogen atoms have been replaced by halogen atoms such as fluorine (F), chlorine (Cl), bromine (Br) and iodine (I). Bromotrifluormethane (Halon 1301), Bromoclorodifluormethane (Halon 1211) and Dibromotetrafluoroethane (Halon 2402) are among the most commonly used products. In 1997, a United Nations Framework Convention on Climate Change was signed. Known as the Kyoto Protocol, the FCCC limits the emission and dumping of gas pollutants responsible for the progressive destruction of the ozone layer and the so-called “greenhouse effect.” These gases include CO2, N2O and halons.

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When the project for the future restoration of the painting The Staircase (Second State) was proposed, an examination of the work revealed a series of alterations that gave rise to very vague interpretations about the number of interventions the painting had undergone. It also suggested the possibility that some of these interventions could have been carried out by the artist himself.

The analysis of micro-samples of materials present in the work and the use of various instrumental techniques to analyse the organic and inorganic compounds have provided answers to the questions raised by the restoration team with a view to preparing the intervention project.

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Historical documentation on their evolution and use in the restoration of cultural assets.

The purpose of the project is to create a computer file containing the commercial documentation provided by the manufacturers of a broad range of products used in restoration processes at the principal restoration centres in Europe, based on those commonly used in the workshop at the Thyssen-Bornemisza Museum.

The file will also contain the general qualitative results obtained from the analytical studies performed on each of these materials, the accelerated ageing studies and all the historical and scientific documentation available on the use of the same in the conservation and restoration of cultural assets.

The product selection process will render the presented information highly useful to professionals in this field throughout Europe.

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Eliminating a varnish is a complex operation within the process of restoration. This procedure should be preceded by an exact knowledge of the materials that are present in the coating as well as in the actual painting technique. Moreover the restorer should have a complete grasp about adequate cleaning systems and their possible effects on the conservation of the painting materials.

As an alternative system for the varnish elimination we suggest the study of samples for the election of solvents, proposed by R. Feller, R. Wolbers and P. Cremonesi, as well as the recommendation made by the IRPA.

Finally we propose a protocol of execution in which we include all those cleaning systems, giving a lot of importance to the characteristics of the coating materials as well as the composition and properties of the paint layer on which they are applied.

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