The Latvian National Museum of Art (LNMA) video stories "Art Restoration at the Museum" provide an opportunity to explore the role of restoration in the work of an art museum, the ethical considerations faced by restorers of prints, paintings and sculptures, the specifics of storing and preserving works that have been created using experimental techniques, as well as several other aspects related to art restoration.
Each video episode relates the topic to specific works in the permanent exhibition in the main building of the LNMA and provides additional information about them.
The basic principle of restoration is to prevent deterioration and its causes, while preserving the historical and artistic authenticity of the object as much as possible.
Thanks to the various options for examining items - microscopy, ultraviolet light and X-rays - the specialist can get a fairly accurate picture of the deeper, "invisible" layers of a painting, which can also be visualised to be shown to a wider audience.
From a restorer's point of view, many modern and contemporary works of art are problematic because materials are used that are not designed to last. While up till the early 20th century artists worked using classical techniques such as oil painting, experimentation with different materials and techniques became more common later on.
The LNMA collection contains examples of double-sided paintings. They are a unique testimony to how artists once worked in different circumstances. This choice is sometimes linked to social conditions, such as poverty experienced in wartime or in exile when materials were used as sparingly as possible. The reasons can also be purely philosophical, when an artist paints a work that after a while no longer seems valuable, so a new one is painted on the other side. It is very rare to find a canvas with both sides painted because this was the original intent.
New acquisitions of works of art in the LNMA collection come in various states of preservation. There are works that are in good condition and only require the removal of a layer of dirt. But there are others that require extensive restoration.
Glazing is chosen as a protective layer when it is not otherwise possible to preserve the surface of a work of art. Not only prints, but also paintings are often glazed. Paintings are usually protected by a layer of varnish, but there are cases where this cannot be applied because it would damage the work itself.
Graphic works are usually displayed framed or in a glazed display case. Photographs have similar display requirements, but copies are used for long-term display. Visitors to an art museum may sometimes feel that the halls are dark during print exhibitions. However, the graphic works are light-sensitive and the lighting is adapted to the specific needs of the works on display. To protect both the paper and colour pigments, the prints are only exhibited in 50 lux of light.
Some of the greatest damage to a sculpture can be caused by touching it with one’s hands. This damage can often be irreversible, as porous materials such as stone absorb oil, grease and dirt. Fingerprints can even corrode metal. If the stone has a low scratch resistance, it is easy to scratch, for example marble is easier to damage than granite.
This project is an excellent example of a successful collaboration between professionals from different disciplines and answers the questions that museum visitors most often ask the curators or curators of educational programmes, while at the same time inviting the public to discover the lesser-known daily life of a museum.
The Latvian National Museum of Art project "Art Restoration in the Museum" was developed in partnership with the law firm Ellex Kļaviņš. The aim of cooperation projects is to offer modern educational resources for culture enthusiasts, making art more understandable and accessible to everyone.
The videos are also available on the Latvian National Museum of Art's YouTube channel in Latvian with subtitles in English and Russian, as well as on the LNMA mobile app.
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