Date: August 2025By: 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…
Acrylic, as a material, occupies a nuanced position in art conservation. The general hesitance around the use of acrylics in conservation stems from the potential risks they pose to artworks in certain contexts. However, there are specific instances where acrylic materials, particularly conservation-grade resins and in-painting colors, are both acceptable and preferred. Here’s a breakdown…
INTERNSHIP EXPERIENCE- OIL ON CANVAS PAINTING – Priya Agarwal Each painting has its own character, its own challenges and therefore requires an individual treatment. During my internship at Heritage Preservation Atelier, I had the chance to observe these variations firsthand. Being a part of HPA’s interdisciplinary environment and learning more about how science and art…
Reports and write-ups on “Conservation of a canvas paintings” generally skip or very slightly mention the problems (and their treatment) at the back of a canvas painting. We need to understand that back represents the health of the canvas support on which the paint layer is resting. Dust/dirt has a tendency to collect on the…
Namita JaspalHeritage Preservation Atelier, Chandigarh, Indianamitajaspal72@gmail.com, heritage.atelier@gmail.comhttp://www.heritagepreservationatelier.comKeywords – Sikh art, Mural paintings, Conservation, Religion AbstractThis case study regarding the conservation of wall paintings at The Golden Temple (Sri Harmandar Saheb Ji) Amritsar, India, intends to highlight some specific conservation issues related to the active religious sites that are historically very important and have huge role…
One of the miniature paintings we came across last month was showing some signs of biological degradation, but no active microbes were visible on the surface. This was unlike other miniature paintings of the same lot, which had visible mold on surface, specially at the back of the painting. This painting had no mold visible…
When a conservator gets art works like the above miniature painting, it is not just the damages that interest him/her, it is also the history/mythology and story depicted in the painting that attracts the conservator. Story/history/mythology apart from the technique and place in timeline/age, would scale the importance of the painting. We study a painting for…
Indian miniature paintings have various schools and technical differences, but most of them have thick paint layer and impasto effects. Thick paint layers tend to flake off under certain circumstances. This flaking can be very unstable/powdering off or more stable in the sense that flaking is not falling off easily… We at heritage preservation Atelier…
At the edge of a jungle, we found some ruins of a temple which was still functional in adjoining more recently constructed room. Initially when i visited the site in 2008, there was another structure right in the middle of the temple complex. This structure was now (2015) totally erased from the landscape. Only a…
Very often we have seen that old worn out paintings are pasted on thicker backing board or sheet. This initially looks good as the worn out or crushed paper or fabric looks much better as it acquires the smoothness and strength of the new backing; but, we tend to ignore that this is not for…
At times we find old sticky tape which leaves almost no adhesive on paper and does not make the paper brittle; instead, it makes its own plastic base brittle. Is this because of the adhesive chemistry itself or because of the pigment on the paper it is applied on?
a little portion of an old oil painting is being cleared off the grime and varnish to expose the actual paint layer intended by the artist Dicovering the real Picture by removing dark layers of grime and varnish
