Up to this point all of the work has been focused on removal.
That is, removal of the surface grime and varnish, the old lining and the adhesive.
But now we can shift gears and start to work to put the painting back together.
With the vapor treatment complete we can see a marked improvement in the surface with the
appearance of the cracks all but eliminated.
The previous lining was likely added in an attempt to remove the appearance of the cracks
but unfortunately it caused more trouble than help.
When the water-based glue was applied it reactivated the sizing and swelled the original canvas.
And as the glue dried and the water evaporated the original canvas began to shrink causing
tension on the paint layer.
And as oxidized oil paint isn't flexible and can't move with the canvas it breaks and begins
to lift.
To ensure that these cracks stay put and that none of the paint that was loose and threatening
detachment is lost an adhesive impregnation will be executed.
With the canvas free of the old rabbit skin glue, a reversible conservation adhesive can
be thinned to the desired consistency and the canvas saturated.
The adhesive will penetrate into the canvas and up through the cracks and into the voids
where the paint layer has separated.
With the adhesive dry the painting can be transferred to the hot table.
To ensure that the painting isn't bonded to the table it will be sandwiched between layers
of release film.
A cotton ribbon will surround the painting and terminate at a suction port in the corner
of the table thus enabling the evacuation of any air in the pocket created for the painting.
The table will slowly be heated to activate the adhesive and once it has achieved the
correct temperature adjustable vacuum pressure will be applied.
The pressure will force the adhesive into all of the gaps between the cracks and as
the table cools and the adhesive sets it will also ensure that the detaching paint is secured
back to the canvas.
While the original canvas is largely in good condition the repeated previous conservations
have taken a toll on the tacking edge, which is frayed, torn and of questionable structural
integrity.
To ensure that the tacking edge maintains fidelity a new piece of Belgian linen will
be adhered to the painting.
The edge of the linen is frayed to prevent a hard-edged terminus and to provide more
surface area for the adhesive film.
This new tacking edge will not only provide substantial support for the tacks, it will
also buttress the fold at the stretcher edge and provide more material during the stretching
process that enables proper tensioning of the canvas.
Whenever heat is applied to a painting it must be followed by pressure to ensure that
there's no deformation of any of the materials as ambient moisture is evaporated.
In addition to making sure that the painting is clean and in stable condition it's important
to ensure that the stretcher is also well cared for.
The cleaning of the support affords an opportunity to examine it for any markings, signatures,
stamps, labels and most importantly any defects or faults.
This support is in fine condition if a bit dirty and will not warrant any repair.
During the cleaning we can see the indentations from the pulling pliers used during the last
stretching.
The depth and intensity of these indentations indicate that extreme tension was placed on
the canvas, likely in an attempt to pull the canvas flat and eliminate the appearance of
the cracks.
Preparing the stretcher for the painting is relatively simple but care must be taken to
ensure that the support is square.
Nailing the corners in place will keep the support form distorting and can be removed
once the canvas is stretched.
The stretching process begins with the orientation of the painting on the support.
Using the existing crease lines as a guide the painting will be fitted to the support
as it was originally.
I'll be using steel tacks to affix the canvas to the support and begin by securing the middle
of each edge thus ensuring that the center of the canvas is under proper tension.
Once those first tacks are driven I will work from the center toward the corners using a
pulling plier to apply even tension to the whole canvas.
Depending on the size of the painting, weight of the canvas and condition of the support
the tacks may be placed anywhere from one to two inches apart.
When I reach the corners I like to tuck the canvas under itself and drive in a few tacks.
I feel it's a cleaner look and more secure without cutting any of the original material
away.
At this point the excess linen on the tacking edge has mostly served its purpose but rather
than cutting it off and letting it fray or gluing it to the stretcher I choose to fold
it under itself and secure it to the verso of the support using smaller tacks.
While these tacks aren't the primary means of holding the painting to the support they
will provide a bit of resistance when tensioning the canvas and help keep the painting from
distorting.
And while the back of the painting might not be the focus of the work there's no reason
that it can't be treated with the same care and respect as the front.
We've now come to the conclusion of the structural work.
The painting is stable and sound and physically in as good of a condition as it has ever been.