Art conservators often face situations that expose their works to damage, or cracks. That results in either from the way artwork is stored, moved from one place to another, or time factors. That state a loss of cohesion or adhesion, and from here the art of another type has emerged. Which is the art of restoring artworks called “conservation”. Where conservation practitioners and scholars have embraced the restructuring of these works. Using new technologies that can help them understand the history of the artwork. As well as special computer programs that provide analysis of the chemicals that make up the work.
Preserving or restoring artworks is one of the biggest challenges in the field of art preservation. As it identifies the materials from which these works are made. Whether to study, and understand the mechanism of their formation. Or to preserve them for future generations.
Art conservators
Many people believe that art conservators are magicians in the art world. In fact, they are studied and trained by art historians, chemists, and scientists of various materials. Besides their mastery and skill in the sense of color. Which is almost like the original artist in accuracy and composition. Every work of art differs in the way it is restored from the other. Because the mechanism of its formation also differs. And there are several types of cracks that are difficult to treat, including what is called an alligator. As it resembles the scales of a crocodile in the way it is broken, and we usually see this type of deep cracks on the models. Artistic and another like a porcelain or jar crack, traction “cracks”, and it is called by the same name.
Art conservating system
Cracks that occur as a result of storage or transportation from one place to another, or pressure, are called spirals. Concentric, or “spiral, concentric, feather” and other complex cracks. Thatstatee the age of the painting as cracks Aging (craquelure) and cupped crack. The tear repair process is also one of the most time-consuming treatments for paintings. As the strands of the torn canvas are gradually sorted with small and delicate tools. And the textiles are returned to their natural state using a microscope.
Some artworks have been colored with several layers of transparent glass. And made up of cold tones, and were affected by the factors of time with a hazy yolk. Need to remove some of the layers of color. And this procedure is taken after extensive and complex studies to analyze the components and layers of colors.
Clear idea about artwork
Some artists may think that it is easy to remove the dirt and dust accumulated on the artwork, but this is not supported by the restorers. For example, a painting by the artist Peter Edward has stains consisting of water and brown liquid. And was treated with extreme precision by the restorers of artwork. The process requires precision, or in other words, precise anatomy of the painting.
In another painting by the Canadian artist Theodore Jensen. We find a ceramic crack that is difficult to restore. As the crack includes most parts of the painting. Which leads to its treatment making it difficult to read the work. HVAC or storing it inside a protective envelope designed to protect it from environmental factors. And the tear method was used in a painting produced in 1863 AD. Representing the character of John Wilson Hutton with analysis and color modification.
Why original artworks are difficult to repaint?
As the original painting was colored in a complex way consisting of two papers and cloth stretched on wood. Which required A number of complex procedures for its restoration.
With the importance of this scientific-artistic field for preserving cultural heritage. We find that it is still limited to limited academic departments related to the restoration of antiquities. And we need to expand and study this science with regard to artistic plastic works. Although the history of local arts is recent compared to other countries. The matter is not without damage or The tearing of a work of art. And we know that original artworks are difficult to repaint even by the same artist who drew them. Let us imagine a painting that was painted with hundreds of multi-directional brush strokes. And mixing colors in random proportions into a color circle. When the artist gets excited with his artwork, he often cares about Momentary Expression. It is difficult to bring all these elements back literally to achieve another similar work.
