Date: August 2025
By: Heritage Preservation Atelier Pvt. Ltd.
Introduction
In the quiet archives of the Government Museum and Art Gallery, Chandigarh, a once-vibrant oil painting by renowned artist Kirpal Singh from 1968 sat shrouded under yellowed Japanese tissue, awaiting rescue. What began as a preservation effort 30 years ago had become a fragile mask over a flaking and wrinkled masterpiece. This blog post walks you through our months-long conservation journey to bring the painting back to structural and aesthetic integrity, without compromising its history.
The Challenge
The painting arrived in a severely deteriorated state:
- Paint applied directly onto unprimed canvas.
- Widespread flaking and tenting.
- Losses exposing the raw canvas underneath.
- Japanese tissue facing adhered with unknown adhesive as a temporary measure—left untouched for three decades.
This combination of issues, especially the embrittled canvas and unstable paint film, made the painting extremely vulnerable. Our mission was not just to restore—but to understand, respect, and carefully intervene.
Decoding the Paint Chemistry
A detailed examination revealed that the paint likely contained resin additives—a common yet problematic practice among 20th-century artists. These resin-modified oil paints, while enhancing gloss and color, tend to wrinkle, crack, and resist traditional treatments.
Understanding this chemistry was key. These additives required a unique conservation approach, as they reacted unpredictably to heat and solvents. The artist’s aesthetic choices had direct implications for our methodology.
The Treatment Process
1. Facing Removal
We started by gently removing the old Japanese tissue, working in millimeter increments. Deionized water and swabs softened the facing adhesive, allowing safe removal without disturbing the brittle paint beneath. Each removed segment was immediately followed by spot consolidation.
“In extremely fragile zones, even the act of lifting the facing required ultrasonic misting or fingertip support through a Mylar barrier.”
2. Consolidation Trials
Two major consolidants were evaluated:
- BEVA 371 (in solution form): Gave strong adhesion but required heat activation, which risked further paint loss.
- Lascaux 498 HV (acrylic dispersion): Offered safer, heat-free adhesion. Applied beneath each flake using micro-brushes and syringes, it proved ideal for the fragile and cupped paint.
3. The Game Changer: Flexible Heating Mat
To address areas that still needed thermal activation, we adopted a flexible heating mat. Unlike spot-heating tools, this mat provided a uniform and gentle warmth, softening adhesives without fracturing the paint. It proved essential in stabilizing the most vulnerable zones.
4. Loss Compensation
Trials were also done with:
- BEVA Gesso
- Lascaux fillers (tinted and plain)
These were reserved for areas where inpainting was deemed necessary for visual balance.
Final Outcome
- The entire paint surface was successfully consolidated.
- Wrinkles were reduced significantly.
- Paint losses were stabilized and selectively retouched.
- The structural support was reinforced, rendering the artwork fit for handling and display.
Recommendations for Storage & Display
To ensure the longevity of the restoration:
- Maintain 45–55% relative humidity and 18–22°C temperature.
- Avoid direct light, vibration, or humidity fluctuations.
- Always use UV-filtering glazing and acid-free backing.
- Handle with gloves; never bend or roll the canvas.
Conclusion
This project stands as a testament to the balance between scientific understanding and delicate craftsmanship. The painting by Kirpal Singh, rich in texture and historical complexity, has been stabilized for future generations to study and admire—its story, and scars, preserved with dignity.