All artwork on this home page is Copyright 1996 - 1999 Donna Barnes-Roberts All Rights Reserved
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"Poppies Gone Crazy" original watercolor

LIFE IS SHORT, ART IS LONG. OR IS IT?

The longevity of fine art is an important concept in modern civilization. We know that our individual lives may not last long, but fine art can transcend generations, and become a thread that binds the past and the present.

"Angel's Trumpet" original watercolor

However, the art that you buy today may not necessarily last into the next decade unless permanent materials have been used to produce the work. And the properly produced work can be destroyed by improper framing and storage conditions.

How can you know that a piece of art that you are considering for purchase will stand up to the march of time? Become an informed buyer, and you will know the questions to ask the artist or art dealer. If the dealer or artist knows nothing about the permanence of their artwork, you may want to re-think your purchase. At least you know that there may be a problem in the future with fading, cracking, or other possible problems.

DON'T WATERCOLORS NEED SPECIAL LIGHT?

Well, it depends. Traditionally, watercolors have been especially prone to fading and other color changes brought about by exposure to light and airborne contaminants. Many museums keep their watercolors locked up, and only show them occasionally under dim light in order to minimize the amount of fading of these works. One reason why watercolors are more prone to fading than oils or acrylics, is that there is no vehicle like the oil in the oil paint to filter out light and protect the pigment. Also oils frequently have a deep layer of paint/oil mixture, which means there is usually more total pigment on the painting. This helps oils to withstand the fading effects of ultraviolet light (the worst offenders, the most energetic wavelengths of natural light), although this oil vehicle presents other longevity problems not found in watercolors. Watercolors sit on the surface of the painting, and some parts may have very little pigment on the paper (for example a pale area). These passages are especially susceptible to fading, if the pigments used by the artist are not permanent.

THE CAT IS OUT OF THE BAG
"PERMANENT" AIN'T NECESSARILY SO

For a long time, even artists themselves didn't have good information on the lightfastness of pigments. Each manufacturer had their own rating system, and there was no real consistency or standards across the industry, so artists were not always aware that a pigment was not permanent. Even names like "Permanent Green" were placed on paints known to have longevity problems. Into this gap, the American Society for Testing Materials (ASTM) began to test paints and pigments with a standard testing procedure.

"Blue Agave" original watercolor

Within the last few years, many manufacturers have adopted the ASTM ratings for their paint. Recently, even Winsor and Newton has reformulated their paint line to maximize the lightfastness and reduce the toxicity of their line. There is also a book out - "The Wilcox Guide to the Best Watercolor Paints", that provides reliable information about paints and the pigments found in each paint - although some of this information is now out of date. In fact, I suspect that the scrutiny of paints by this book has had a lot to do with the recent reformulation of many paint lines to provide more permanent results.

"Here Comes Trouble" original watercolor

Now artists have fewer excuses for using fugitive paints in their paintings. As a buyer of artwork, you need to talk to the artist and gallery owner about the lightfastness of the pigments used. Unfortunately, many older paintings (over 5 years old) may have some more or less fugitive pigments included in them, because the artist did not know about the problems of the pigments used. Also, many current paintings may also incorporate these pigments, since some artists may not wish to change from a pigment they have used for years. As an artist, I understand this. I gave up alizarin crimson due to this lightfastness problem, but there is no pigment that paints just like the original. I now use mixtures that approximate the effect of this pigment. They are permanent, but they are not alizarin crimson.

I do know artists who have decided not to change to a new, more permanent palette of colors. If you are in the market for art, and want to know if your purchase will be liable to fade or change color, you need to discuss this with the artist or dealer. If they don't know what you are talking about, you need to realize that you may (or may not) be getting a work of art that is prone to fading. There are special framing and location considerations to think of if you want to display the art, but you may still wish to purchase the art work. Just be aware that the piece will need special care. You may want to use special UV filtering acrylic or glass over the painting. Some of these filter out 98% of the UV light, so that you can display the work with very little change taking place in the painting. Also, don't display the painting in a sun room. That is not a good place for any painting.

THE IMPORTANCE OF QUALITY PAPER

Paper is also of importance in watercolor paintings. Good papers are 100% rag, and are acid free. This means that the fiber used in the paper is all cotton or linen fiber, and contains no acid. Most watercolorists use these kinds of paper. Good brands include Arches, Lanaquarelle, Winsor and Newton, Waterford, etc. In certain paintings that are painted on a full sheet of watercolor paper, you can see the manufacturer's watermark in a corner. However, paintings are also frequently painted on paper that is torn from larger sheets or rolls, and no watermark is visible. Again, ask the artist or dealer what kind of paper is used.

"Thai Dancers" original watercolor

Paper that is not pH neutral or made from unbuffered wood pulp will become darkened and brittle with age. As I am writing this, I am looking at a lovely painting painted by my mother-in-law, an amateur painter. The painting is beautiful, but she painted it decades ago on wood pulp based paper, and there is no white left on the painting. It is gradually self-distructing from the inside. Paper of this kind can be treated to stop or slow this deterioration, but the damage already done is not reversible.

"Suicide Bridge" original oil painting

SO OILS MUST BE MORE PERMANENT

Well, not exactly. Oils present completely different problems in longevity. Some of the problems relate to the canvas or other support. Others to the paint film.

Anyone who has seen oil paintings in museums has seen the cracking and yellowing of oil paint. When purchasing a contemporary painting, it can be difficult to assess how much of a problem this will be in the future. In general, oil on canvas paintings fare reasonably well if not subjected

"Little Girl in
a White Hat"
Original Acrylic

to changes of temperature and humidity. This is why museums always monitor and precisely control heat and humidity in their environments. Every change causes the different layers of the painting to expand and contract, and since each layer may try to change differently, stresses can build up that result in eventual cracking.

The amount of cracking increases if the artist has not followed the "fat-over-lean" rule when the painting was painted. This rule stipulates that each layer of oil paint in a painting should have more oil in it than the last. This is because a layer with more oil is more flexible, and if the top layer has the maximum flexibility, it will be less likely to crack, when subjected to the stress of humidity and temperature changes.

Then there is the problem of the support. This is the canvas/wood/etc. that the oil painting is painted on. If the support has not been properly prepared, the painting may flake off or fall off whole, or rot in place, etc. Most contemporary oil painters use canvas or linen canvas with acrylic gesso or an oil ground over a glue size. The whole point of this is that oil paint turns acidic with time, and will attack the support of raw paper, canvas, etc. after the passage of time. So oil paintings require a layer of gesso, etc. to protect the support (canvas) from the oil.

"Clara's Gift"
Original Acrylic

TO VARNISH OR NOT TO VARNISH

When you purchase a new painting, it may or may not be varnished. Varnish may be shiny or matte, but normally is not done until at least 6 months after a painting is finished. If the paint layers are thick, it may be a year before it can be varnished. Check and see if the artist will varnish it after the requisite time has passed. Sometimes they are not varnished in the gallery because not enough time has passed. Since varnish can yellow by itself, some artists avoid it. This is a judgement call. If the painting layers are well done, the varnish can be removed without affecting the painting after it is yellowed and re-applied. See "TO CLEAN OR NOT TO CLEAN" below.

TO CLEAN OR NOT TO CLEAN

There is also the question of cleaning a painting. As a painting is hung in an average home, oils and dirt from the environment settle on the painting, and with time may embed themselves in the paint film. If the painting was varnished, then the dirt will be embedded in the varnish layer, and a conservator should be able to clean the painting by removing the varnish, dirt and all, and then re-varnishing the painting. If the painting has not been varnished, the junk is in the paint, and may be more difficult to remove. Either way, a conservator should do the cleaning. DO NOT ATTEMPT THIS YOURSELF IF YOU LOVE YOUR PAINTING! If you do not know a conservator, contact a local art museum and ask who they use. Some museums will provide conservation service themselves, often for a reasonable price. Conservation service is not always expensive, but it will become more expensive the longer you wait if the painting's condition is becoming worse.
WHAT QUESTIONS TO ASK THE ARTIST OR ART DEALER

Always ask the dealer about how the painting was created. What kind of support was used? Are the pigments used permanent? Oils suffer less from fading than watercolors, but this is still something that can be a problem. Was the painting varnished? If the painting has thick paint layers, is the support heavy enough to support the weight over a period of time? If you can, ask to speak to the artist, especially if the art dealer does not appear to know the answers to your questions. Many dealers are more than happy to refer you to

"Descanso" Original Oil

the artist. That way you can find out much more about the painting than the dealer can supply. Just remember, some artists do not wish to be contacted, and their wishes have to be respected.

Send me e-mail: donna@barnesroberts.com

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