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Even the most cherished and valuable artworks aren't immune to damage, whether from accidents or the inevitable wear of time. Thankfully, expert art conservators and restorers can breathe new life into these pieces, ensuring they remain stunning for generations to come.
Art conservation involves protecting artworks from future harm, whereas restoration focuses on fixing existing damage. Many professionals excel in both areas. To outsiders, their work might appear either deeply fulfilling or incredibly meticulous. We spoke with several industry experts to uncover what it truly takes to preserve the beauty of art.
1. RESTORING MODERN ART CAN BE MORE CHALLENGING THAN WORKING ON CLASSIC MASTERPIECES.
It’s easy to assume that ancient paintings, covered in layers of dirt and grime over centuries, would be more challenging to restore than modern pieces. However, Barbara Bertieri, a New York City-based painting conservator and restorer who works with Fine Arts Conservation Inc alongside Abraham Joel, disagrees.
“With Old Masters,” she explains, “artists followed strict training and excelled in preparing pigments and canvases.” These traditional methods are well-documented, making restoration more straightforward. In contrast, contemporary art often incorporates unpredictable materials and techniques. “You never know what you’re dealing with,” Barbara notes. “A single piece might combine water-soluble paint, oils, and even embedded objects.” This unpredictability makes restoration far more complex.
2. THE ART MARKET PLAYS A MAJOR ROLE IN RESTORATION DEMAND.
Steve Tatti, a Manhattan-based sculpture conservator, has worked with a diverse range of clients, including museums, private collectors, and even city governments. He observes that private collectors, aiming to maximize their investments, are increasingly driving the restoration industry.
“Often, someone wants to sell a piece that hasn’t been properly maintained,” he says. In such cases, they hire restorers to repair the artwork, ensuring it fetches the highest possible price at auction. Economic shifts can also create new opportunities. Barbara and Abraham highlight their work in the Indian art market, which has emerged over the past decade due to the country’s economic growth and rising interest in art.
3. NATURE ALSO PLAYS A SIGNIFICANT ROLE.
Frequently, it’s the unavoidable impact of natural elements that sends artworks to restorers. Many pieces in Barbara and Abraham’s studio show signs of cracking, tenting, and fading caused by shifts in humidity, temperature, light exposure, and aging. Steve, who focuses on outdoor sculptures, deals even more directly with nature’s effects. Marble and stone gradually erode due to air acidity and pollution, while brownstone, he notes, “peels away in layers.” Bronze fares better, though oxidation eventually causes wear.
4. HUMAN MISTAKES CAN ALSO CAUSE DAMAGE.
Errors are inevitable, but they become far more serious when involving priceless artworks. High staff turnover in auction houses and storage facilities can sometimes result in accidents, and even museum pieces aren’t immune to mishaps. Barbara recalls a case where a client’s artwork fell from its frame and shattered due to improper framing. Steve often encounters clients who mistakenly believe outdoor sculptures require no upkeep, leading to severe damage over time.
5. PROPER LIGHTING IS CRUCIAL FOR RESTORATION.
A restoration that appears flawless under one lighting condition might stand out under another. To address this, Barbara and Abraham meticulously examine their work under various artificial and natural light sources, as well as from multiple angles, to ensure consistency and precision.
UV light is also a common tool in restoration. Ultraviolet light causes organic and some inorganic materials to auto-fluoresce, glowing at varying intensities based on their age and application. This reveals even the most expertly concealed touch-ups, helping restorers identify previous repairs and understand the piece’s history.
6. THEY DRAW INSPIRATION FROM OTHER FIELDS.
Beyond traditional art tools like brushes and paints, and advanced equipment such as UV, infrared, and x-ray devices, restorers often repurpose tools from unrelated industries. “The restoration field isn’t large enough to warrant custom tools for every need,” Barbara explains. As a result, they adapt items like medical scalpels, dental picks, jewelers’ tweezers, and even polyester sailcloth for reinforcing damaged canvases.
7. SOMETIMES, THE BEST APPROACH IS HANDS-ON.
A conservator’s expertise and intuition often prove to be their most valuable assets. Steve recalls his training in Florence during the 1970s, which emphasized a holistic, sensory-driven approach. “I depend on my sight, touch, taste, and overall senses,” he says, noting that he can identify a metal sculpture’s composition by tapping it or determine a stone’s type by its temperature. He attributes this skill not to magic but to years of experience. “Even scrap metal workers can do the same,” he adds.
8. THEY UNDERSTAND WHEN TO STEP BACK.
A key skill for any conservator is recognizing when to avoid intervention. “Paper requires minimal intervention,” Abraham emphasizes. Over-treating or bleaching a discolored edge on a paper artwork can jeopardize the entire piece, especially if the main image remains intact. Similarly, applying varnish to protect a painting might alter its color or character. Over-cleaning with harsh solvents can also irreversibly remove pigments.
9. THE WORK CAN BE ISOLATING AND ALL-CONSUMING.
Unlike art dealers, who frequently interact with clients and network, restorers often spend long, solitary hours immersed in their work. “We don’t engage with many people during the day,” Barbara notes. “It’s just you and the artwork.” This intense focus can lead to near-obsession. “If you see someone in a gallery scrutinizing a painting closely,” she says, “chances are, they’re a restorer.”
10. THEIR WORK CAN INVOLVE SIGNIFICANT RISKS.
Although their use has decreased, art restoration has historically relied on dangerous solvents and chemicals. Barbara recalls a time when restorers routinely cleaned their hands with acetone, turpentine, and mineral spirits—substances known to harm the skin, lungs, and mucous membranes.
Challenging working conditions are also common. Steve’s team once faced the daunting task of removing two murals by the artist Carybé from a JFK Airport terminal during its demolition. The work took place in an unheated building in the middle of winter. Additionally, tight deadlines or emergencies often force conservators to work through the night.
11. EACH PROJECT IS OFTEN UNPRECEDENTED.
Restorers frequently face unique challenges with no prior examples to guide them. For instance, removing the Carybé murals from JFK Airport involved handling two massive artworks, each weighing a ton, standing nearly 17 feet tall, and stretching over 50 feet long. Steve admits they had no guarantee the murals would survive the removal process. “It was a once-in-a-lifetime experience,” he says, “but incredibly stressful—almost surreal. There was no way to prepare or plan. You either rise to the occasion or ...”
12. THEY SOMETIMES EXPOSE COUNTERFEITS.
The murky realm of art forgeries and fakes often makes for gripping headlines, books, and films, but it’s far less entertaining for those who fall victim to them. Conservators occasionally find themselves delivering unwelcome news to clients. Abraham recounts working on a collection of paintings marketed to a Far East collector as 15th-17th century masterpieces by Raphael, Rubens, Titian, and others. X-rays later revealed they were 19th-century replicas. On the brighter side, conservators can also authenticate artworks. A career highlight for Barbara and Abraham’s Fine Arts Conservation was uncovering the signature on Antoine Dubost’s 1804 work Sword of Damocles during restoration.
13. THEY SOMETIMES CRAFT REPLICAS.
In some cases, safeguarding valuable public art involves moving the original indoors and displaying a durable replica outside. This practice is particularly common in Europe, where institutions and municipalities prioritize preservation. Steve considers this “the ultimate solution for outdoor conservation.” His team restored the Lady Baltimore statue from the 1814 Baltimore Battle Monument and created a replica for outdoor display, while the original was relocated to Maryland’s Historical Society. They are now undertaking similar work on the wooden figure of St. Paul from St. Paul’s Chapel in Lower Manhattan, which will be restored, moved indoors, and replaced with a resin copy.
14. STAYING OUT OF THE SPOTLIGHT CAN BE A GOOD THING.
A skilled restorer’s work often goes unnoticed, as it happens behind the scenes and focuses on repairing damage without drawing attention. Abraham emphasizes that silence is a hallmark of success. “If you do your job well, no one will even notice,” he says.
15. THE BEST CLIENTS ARE THOSE WHO GENUINELY LOVE ART.
While some view art collecting as increasingly driven by financial gain, there are still collectors motivated by a deep appreciation for art. Barbara particularly enjoys working with these passionate individuals. She notes that collectors who see art as an investment may focus more on the damage to their assets than the expertise required to restore them. They often worry about the piece’s diminished value. In contrast, true art lovers see restorers as saviors of their cherished treasures. “They are so grateful, and it’s incredibly rewarding for us,” she adds.
All photos courtesy iStock.
