Tears are one of the more challenging problems paintings conservators face. A quick Google search for “canvas tear” brings up a number of articles recommending artists and art owners glue a patch of fabric or paper to the back of the tear and call it fixed. As conservators, we see the aftermath of these failed repair attempts and the additional problems they cause.

If you visit the studio, you might notice some small, white, triangular paper forms scattered throughout the studio. Upon closer inspection, you’ll see that each one is labeled with the date it was placed and its specific location in the studio and that there is a sticky pad on the interior. So, what’s the deal? Read on to find out!

When an art object is brought into Flux Art Conservation for assessment or treatment our first step is to conduct documentation of that object. In this blog we will discuss the types of conservation documentation, why documentation is important and how it is used by conservators in the present and future.

Artists, conservators, curators and other cultural heritage professionals have been studying and trying to understand causes of damage for hundreds of years. In the 1990’s authors began publishing a more formal and comprehensive list of risks to art that we now refer to as the, ‘Agents of Deterioration’.

In this post, we want to talk about an integral part of most canvas paintings: stretchers and strainers and the differences between these two auxiliary supports. Because canvas is a fabric, in most cases, it needs an auxiliary support to help make it a more paintable surface. That auxiliary support is usually either a stretcher or strainer. Let's explore the history and use of stretchers and strainers.

In 2022 we had the honor of working on a very special artifact for the Historical Society of Bensalem Township - a diorama entitled The Signing of the Declaration of Independence. The diorama artistically recreates the iconic scene of members of the Second Continental Congress signing of the Declaration of Independence in what was, at the time, the Assembly Room of Pennsylvania State House in Philadelphia, PA.

The collaboration between Flux Art Conservation and the James E. Brewton Foundation began in the summer of 2023 with 6 works by James E. Brewton spanning from 1962-1967. The goal of this project was to provide the Foundation with full documentation of the 6 works. This post is a summary of this experience.

Completing the partial restoration campaign of an 18th-century, South American canvas painting of the Madonna and Child.

Flux Art Conservation had the pleasure of conserving this portrait and interviewing Zofia’s daughter about her life, her mother and the importance of the portrait to the family. Written by pre-program technician Leah Aretz.