When the frame for Walter Brackett’s Trout (1867) was undergoing extensive treatment in preparation

When the frame for Walter Brackett’s Trout (1867) was undergoing extensive treatment in preparation for loan (discussed in a recent post), the painting itself also was getting conservation attention: its old, discolored varnish needed to be removed and replaced with a new one. Paintings conservators carefully weigh the importance of treatments like this so that the “varnish cycle” of removal and replacement doesn’t occur more often than necessary. Records for Trout indicated that it had never received a varnish treatment at the Brooklyn Museum, although structural repairs had been performed; its natural resin varnish was probably over 100 years old. The original goal of the varnish would have been to saturate colors and provide a consistent, low-gloss surface. At this stage of degradation, it was no longer providing even saturation, and the natural resin content had yellowed to the point of obscuring the painting’s true colors and flattening out the imagery.The aged varnish was carefully removed with solvents. In choosing a replacement varnish, the original aesthetic goals mentioned above remain. Additionally, in order to elongate the varnish cycle, chemical stability and non-yellowing characteristics are crucial. A low-molecular weight, synthetic resin capable of accomplishing all of these goals was selected. Dilute in an appropriate solvent, it was brush-applied overall and then quickly buffed (pictured above) to achieve the correct sheen before it dried. The final effect shows a more appropriate representation of the artwork: bright whites and crisp colors on the fish and a cool, misty background return the sense of depth and freshness to the painting.Now Trout and its frame are looking their best for display!Posted by Jessica Ford  -- source link

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