How to tell if a painting is archival, what that means, and what you can do to protect your art investment.
No one wants their beautiful relationship to dissolve into a mess before their eyes. You’ve fallen in love with a painting by an artist whose work is new to you. Will it last the test of time? How can you tell if it is archival?
While nothing is guaranteed in this life, there are some simple questions to ask to get an idea of how “archival” a work may be. Before we get started a quick note about the term “archival.” It really should be more along the lines of “durable.” It has nothing to do with archives, except the fact that it might stick around in one for awhile… When we speak of archival supplies and techniques we really mean that the work will last a reasonable amount of time. We are always looking to see if the work will last longer than we do. My personal minimum goal is for my paintings to last over a hundred years.
Oil Paintings
Most of the older paintings you see in you see in an art museum are oil. (Acrylic painting didn’t come around until the mid 20th century.) In oil paint the pigment is held together and turned from powder to a thick liquid with oil (linseed oil, poppy seed oil, safflower oil and walnut oil being the common choices). Over the years oil paint has been developed to hold up better over time. In the beginning of new oil colors development you see unstable colors and reactions, such as the yellows that Van Gogh experimented with turning brown.
The researchers found that sunlight kicks off a chemical reaction that ultimately turns yellow paint brown. The sunlight oxidises the oil in the paint, releasing electrons. These are then taken up by the yellow pigment – lead chromate – turning it green. The mix of green paint with oxidised oil produces a chocolate brown colour.
https://www.theguardian.com/science/2011/feb/14/van-gogh-sunflowers-yellow-paint
Albert Pinkham Ryder used many untraditional techniques, including applying grease, alcohol and candle wax. He used these materials in multiple layers and reworking his compositions often.
This dark painting is in a state of deterioration due to the materials and techniques used by Ryder. Notice the cracks easily visible in the light areas and the edges which are chipping and falling apart. Image courtesy of the Metropolitan Museum of Art.
Unfortunately, Ryder’s eccentric practice often resulted in the production of an unstable artwork. The strata of media applied in various layers and thicknesses would trap wet layers of paint and materials in the undersurface. The varied mixtures of pigment combined with household materials would dry at different rates, causing cracking to the surface of the painting, a common characteristic of Ryder’s work. In extreme instances, his works would be lost completely over time, due to the breakdown and deterioration of the materials.
There are a few basic painting techniques to prevent cracks, such as applying thinner coats of paint first and then building up the thicker layers. This allows the paint against the ground (such as canvas or wood) to dry quicker and then the painting dries from the inside out, with the thicker and last applied paint drying last. This is simply called “thick over thin.” If you see glazing (very thin paint, usually of a transparent nature) over a thicker section of paint you know that the painting has a higher chance of cracking over the years.
Using proper mediums for thinning paint is also essential to get good quality paint application. With oil paint an artist cleans their brushes with turpintine or a similar solvent. Beginning artist often make the mistake of using this solvent to thin their paint, but this is breaking down the structure of the paint. If the artist is available to speak with you may ask them a few quick questions about their painting supplies to find out if this is their practice as well. My personal observations are cracking from this type of painting practice shows up in about ten years.
Varnishing oil paintings must be done after the painting is completely dry. A thick painting could take a year or more to dry. A varnish coat protects the painting and if restoration is needed in the future, the varnish coat may be safely removed and reapplied, taking most of the damage with it.
Acrylic Paintings
Acrylic paint has the pigment held together with an acrylic polymer emulsion. Solvent is not needed as they are water-soluble. They do become water-resistant when dry (unlike watercolors). Similar to oil painters, make sure your artist is using the correct mediums, gels, etc., to thin their paint, rather than water, as water breaks down the emulsion.
Varnishing is also available on acrylic paintings. I use the same brand of varnish as I do paint to insure that everything is chemically compatible. My varnish also has a layer of UV protection to protect the paint from sunlight damage and it also prevents dust and grime build up.
Watercolor Paintings
Unlike oil and acrylic paintings, a watercolor painting needs to have a frame with a glass or clear plastic, called Plexiglass, over the painting. Watercolor is painting on paper, so you need to make sure that you take care of the paper, as well as the paint. The paper it is painted on should be “archival” so that it doesn’t start to break down or turn brown. Acid-free is essential to achieving this. Watercolor paintings will be damaged if moisture touches the paint. Watch for condensation on the glass frame. Keep watercolor paintings out of the sunlight.
* Side note about pastel drawings: they cannot be framed in Plexiglass as the static builds up and then attracts the pastel particles up off the paper and onto the Plexiglass!
How To Do Your Part
The painting has left the studio. Now, it is your turn to care for it. Protect your investment by following a few simple tips for preventative care:
- Proper temperature is critical. Think of museums – they try to maintain an even temperature. Now you don’t have to go crazy with this, but consider if you live in Arizona and own acrylic paintings that you may want to keep your air conditioner on when you leave for that week in August. Doesn’t have to be set at 72, but perhaps you will keep it below 100. Acrylic paint becomes soft at 140 F (60 C) so don’t leave it in the car. If you purchase artwork at an art festival ask if you can pay for it now and then come by at the end of the day and pick it up. That way you’re not tempted to put the painting in the car to avoid carrying it around for the next few hours.
- Moisture is bad. Very, very, bad. It can allow mold growth. It will speed up deterioration of all sorts of materials. Please don’t put art in your bathroom unless it is sculpture of a durable material (like ceramics) or a print that you are willing to sacrifice.
- Sunlight. Yes, it looks so pretty there. I know, I know. Don’t do it. If you have a UV coating on your windows or the work has UV protection in the varnish you could… but… really, just don’t. Think of how the backs of your curtains deteriorate in your southern windows. Don’t put a painting there. If it is a watercolor, for sure don’t. The whole painting could disappear after one good sunny summer!
- Dust, dirt, grime. Keep away from splattering areas of the kitchen, or kids who are learning to bake. (Hello flour!)
- Don’t clean with any chemicals. You can use a glass cleaner on a glass frame, but not Plexiglass (Plexi and ammonia don’t get along). Try to gently blow dust off (not with a hairdryer), next wipe it off with a clean, dry, soft cloth. You need a cloth that won’t leave particles behind like a paper towel and won’t scratch.
If you have an specific questions I haven’t answered here, feel free to ask!