Fixing a TearMovers did this damage to a dear friends favorite work of art. This original oil came into the studio, sagging and buckling a bit from the tension release on the canvas the tear produced. Always a shame to see to an original, but the great fortune was that it minimally intruded into the subtle gray transitioning. It was however a deep wound that had multiple lightening-like splinters. The rip is about the size of my hand with fingers widely extended.
The process will require more work.It leaves the studio in July 2012. There will be a few months in between steps so there can be some 'breathing' time before
I circle back to further refine and generate a more consistent resurface. Since I was only working with tinted under-painting materials up to this point, the next studio session will involve the upper-paint layers. |
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When it returns to the studio in the late fall, it will be inspected for any surface contraction and to assess any further over-all warping or sagging that might indicate a need for re-stretching the work. Right now it appears minimal. I do not recommend it at this time. The slight addition of weight, even as thin as it is, can sometimes enhance the 'bowing' to the canvas substrate. We are very lucky that the design of the stretcher bars with a slight push left at the bottom, will go a long way to distribute the weight and provide additional tension support by the nature of the design.
Next stage at this time is matching the painted layers to the more nuanced ranges of blacks impacted. While pretty good as it is, it needs the actual paint layers to be added to bring it back to being fully oil painted. Right now, it is just exposed substrate materials. A protective temporary varnish with special non-sealing ppropertiesis then applied to protect that layer or oil paint. Another 'rest' period will be required for that oil layer to breath out. That process would be approximately a year or so.
It will return to the studio for one last finessing to not only refine any lingering inconsistencies, but for the express purpose to match varnishes more consistently.
Again, the tension dynamics will be addressed before varnishing.
Next stage at this time is matching the painted layers to the more nuanced ranges of blacks impacted. While pretty good as it is, it needs the actual paint layers to be added to bring it back to being fully oil painted. Right now, it is just exposed substrate materials. A protective temporary varnish with special non-sealing ppropertiesis then applied to protect that layer or oil paint. Another 'rest' period will be required for that oil layer to breath out. That process would be approximately a year or so.
It will return to the studio for one last finessing to not only refine any lingering inconsistencies, but for the express purpose to match varnishes more consistently.
Again, the tension dynamics will be addressed before varnishing.
