PRELIMINARY EXAMINATION OF                THE PAINTING

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Paintings are sensitive to changes of air, excessive light, heat, air polution and vibration. If restoration becomes necessary the extent of the damage must be diagnosed.  Scientific examination can reveal not only the present state of painting but stages in which it was created and any changes made by earlier conservation.

RAKING LIGHT

Overpainted signature visible in raking light

In  this process a painting is lit by a beam of light parallel to or forming very small angle (between 5-30 degrees) with its surface. Raking light can show the condition of the layer of pigment and indicates any damage to the varnish as well as provide evidence of the artist's style.

Signature after partial cleaning

PHOTOMACROGRAPHY

The technique to obtaining slightly enlarged pictures without the use of a microscope. Photomacrographs can reveal the condition of actual layer of pigments. Old paintings are usually covered with a network of cracks caused by the pull of the support or the nature of the binding agent. Details of craquelure, old retouches and damages can be seen clearly on photomacrographs.

Cracks and old retouches visible on photomacrograph of 17th c painting atrributed to Van Dyck

Detail from italian portrait dated 1630

ULTRA-VIOLET RAYS

Ultra-violet light can measure the extent of earlier restoration - will show any attempt or partial removal of varnish and the retouches.

Photograph in UV light

CLEANING TEST

A. Surface of the painting before cleaning B. After removal of dust, smoke and grime C. After removal of dark varnish

Examination under binocular microscope