Documentation

When an art object is brought into Flux Art Conservation for assessment or treatment our first step is to conduct documentation of that object. Formal documentation of an object at Flux will always include high resolution photography in normal, raking and specular illuminations and a written condition report. Other types of photography and documentation may also be conducted as needed. 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. Documentation is a basic principle of the Guidelines for Practice of the American Institute for Conservation of Historic and Artistic Works. The AIC Code of Ethics and Guidelines are followed by Flux Art Conservation in all aspects of our work.

What are the types of documentation?

There are two main categories of conservation documentation – photographic and written. Documentation of objects is used to understand and record the physical and material history of that object. Both types are of extreme value to the conservator and art collector as they describe an object in its condition at a specific place in time. All documentation should be kept in at least 2 forms: physical copy and digital copy, and these should be shared with conservators when an object is sent for treatment.

Photographic Documentation

High resolution photography is taken of an object before, after, and sometimes during treatment. These photos act as a visual aid to the conservator of the progress of the treatment, to better visualize the differences a treatment is making or to understand the effect a certain material may have on an object. For example, if a conservator decides to remove a degraded varnish from a painting the before treatment photos act as a reference of the overall tonality, sheen, and saturation so a conservation grade varnish with comparable qualities can be used. When taking photos of an art object a color checker is placed next to the object to be used when white balancing the photos, to maintain accuracy. Photos are typically taken before, during and after treatment against a neutral gray background.

There are 4 types of lighting arrangements that aid in seeing the surface in different ways. All photos are white balanced using a color checker during the post production editing of photographs. Below are examples of the types of lighting arrangements used when photographing an object in visible light.

Normal Illumination

Normal illumination provides the appearance of an object under normal viewing conditions with indirect ambient lighting. It serves as an accurate record of the object that can be used to describe what the object looked like at a specific place in time. The ‘normal’ photos are the ones most commonly used in before/after photos, shared on social media platforms and on institution websites.

Raking Illumination

Raking illumination is done by placing the single light source to the left of the object/painting. This light placement will cast shadows that increase the visibility of surface topography, cracks, holes and deformations of the canvas.

Specular Illumination

Specular illumination is done by facing the light source parallel the painting. This shows the overall or differences in sheen on the surface (if there is a coating or differences in binder or paint materials). This painting has no varnish and exhibits a very matte surface.

Transmitted Illumination

Transmitted illumination (the light source behind the painting) can help identify areas of loss on a painting and changes in paint application such as thin vs. thick paint layers. This is useful when a conservator must fill multiple areas of loss or needs more information on the paint application when considering treatment.

UVA induced visible fluorescence

UVA induced visible fluorescence (UV) is used to detect materials on the surface and help characterize them, such as varnishes/coatings, old retouching, adhesives or evidence of previous conservation work. This is useful to for materials characterization or during treatment to ensure all varnish is properly removed or evenly thinned.

Photomicrographs

Photomicrographs are photos taken while looking at the surface under magnification. This lets us get a closer look at surface phenomena and generally to get a better idea of what is happening on the surface that is harder or cannot be seen by the naked eye. Use of a high magnification microscope allows us to view surfaces up to 400x magnification.

Written Documentation

Written documentation is valuable to both the conservator and the client. It is used as the means of explaining the condition of the object, why certain treatment decisions are made, what is recommended for treatment or preservation, and what the outcome was. It is also valuable for conservators to have access to these reports before they interact to an object that has been previously treated to inform their own treatment decisions.

Condition report

Written to explain what condition the object is in when it arrives in the studio. This helps to explain what is being observed by the conservator that needs to be addressed, so the client has a better sense of the reasoning behind treatment recommendations.

Treatment proposal

Written after thorough examination, this lays out the treatment steps that are recommended by the conservator – with an explanation on what steps are high priority or lower priority and what issue each step will address. This step relies on strong communication between the owner and conservator about desired outcomes, expectations and preservation requirements, taking into account the future of the object, the location, if it is a museum object or for sale.

Treatment report

Written after all treatment has been completed. It is important that this stays with the artwork as it gives detailed technical information on the treatment and reasoning that is important for conservators to have and know should the work end up in the hands of another conservator.

Condition map

Used to map out areas of concern, losses, cracks, build-up of dust and grime, insect activity, tears, holes, migration, abrasions, accretions, blanching, blooming, etc. This document should be straight forward and simple to read, and often works in reference with a detailed condition report. 

In summary

Proper documentation of an artwork’s condition and its history is important to collectors and conservators alike. It is best practice to keep all documentation in at least 2 forms: physical copy and digital copy - these should be shared with conservators when an object is sent for treatment.

Conservators take photographs of the artwork before, during and after the treatment to document the state of the object at all stages. This helps future conservators and collectors know the condition of an object at a given point in time and can inform later conservation work and preservation needs.