Photo
petitepointplace:

Cotton sampler embroidered with wool and silk, by Sarah Bland, England, mid-19th century. Museum no. T.240-1967 Given by Mrs D. McGregor.
Victoria and Albert Museum

petitepointplace:

Cotton sampler embroidered with wool and silk, by Sarah Bland, England, mid-19th century. Museum no. T.240-1967 Given by Mrs D. McGregor.

Victoria and Albert Museum

(Source: vam.ac.uk, via aprilonline)

Photo
iamphotonate:

in color
Photo
tierradentro:


“The Oath of Horatii" (detail), 1784, Jacques-Louis David.


Cracks! Lovely!

tierradentro:

The Oath of Horatii" (detail), 1784, Jacques-Louis David.

Cracks! Lovely!

(via themindofaconservator)

Photo

(Source: artssake)

Photoset

likeafieldmouse:

Inigo Aragon - Contemporary Altars (2012)

Beautiful packages

(via themindofaconservator)

Photo
sullenmoons:


Azurite with Malachite and Limonite

sullenmoons:

Azurite with Malachite and Limonite

(via mineralogasm)

Photo
valinaraii:

Colour palette of the Sèvres porcelain factory in the 6th year of the French Republic (1798).

(C) RMN-Grand Palais (Sèvres, Cité de la céramique) / Martine Beck-Coppola
source

valinaraii:

Colour palette of the Sèvres porcelain factory in the 6th year of the French Republic (1798).

(C) RMN-Grand Palais (Sèvres, Cité de la céramique) / Martine Beck-Coppola

source

Photo
varnishisapowerfulliquid:

How Long Does Thickly Applied Impasto Paint Take to Dry?
While visiting the Musée des beaux-arts de Montréal  last week, I really started to think about this question while looking at the above painting, Long Hair Hobo No. 2 by American artist, Allison Schulnik in 2008. The painting is oil on canvas but her technique focuses on applying the paint incredibly thick or even letting it ooze from the tube. Visually it creates an amazing affect actually giving her paintings three-dimensional traits. 
As a conservator, of course I find this mildly terrifying but it’s so captivating I couldn’t look away. I must have stood there for 15 minutes, almost waiting for big globs to drip off the canvas onto the gallery floor. There was tape on the floor around the painting to create a psychological barrier to make visitors keep their distance from the paint surface. All I can think about is how does Schulnik travel her works and how much dust is going to get stuck in the crevices of the impasto overtime? Oh, and of course I was dying to touch it to see if it was actually dry. 
If you do paint with thick impasto here are some tips to consider regarding drying techniques for oil paints. 

Beautiful, but yeah

varnishisapowerfulliquid:

How Long Does Thickly Applied Impasto Paint Take to Dry?

While visiting the Musée des beaux-arts de Montréal  last week, I really started to think about this question while looking at the above painting, Long Hair Hobo No. 2 by American artist, Allison Schulnik in 2008. The painting is oil on canvas but her technique focuses on applying the paint incredibly thick or even letting it ooze from the tube. Visually it creates an amazing affect actually giving her paintings three-dimensional traits. 

As a conservator, of course I find this mildly terrifying but it’s so captivating I couldn’t look away. I must have stood there for 15 minutes, almost waiting for big globs to drip off the canvas onto the gallery floor. There was tape on the floor around the painting to create a psychological barrier to make visitors keep their distance from the paint surface. All I can think about is how does Schulnik travel her works and how much dust is going to get stuck in the crevices of the impasto overtime? Oh, and of course I was dying to touch it to see if it was actually dry. 

If you do paint with thick impasto here are some tips to consider regarding drying techniques for oil paints. 

Beautiful, but yeah

Photo
varnishisapowerfulliquid:

Conservation treatment during extensive retouching carried out at the National Gallery of Canada for the Blanton Museum. Detail shows the foot during the reconstruction phase of the retouching which took 360 hours to complete.
Antonio Carneo, The Death of Rachel, 17th C, oil on canvas. The Suida-Manning Collection at the Blanton Museum in Texas.
See articles here and here.

360 hours. No wonder I’m losing my mind after having only 20 hours to do a thread by thread tear repair. This stuff takes time.

varnishisapowerfulliquid:

Conservation treatment during extensive retouching carried out at the National Gallery of Canada for the Blanton Museum. Detail shows the foot during the reconstruction phase of the retouching which took 360 hours to complete.

Antonio Carneo, The Death of Rachel17th C, oil on canvas. The Suida-Manning Collection at the Blanton Museum in Texas.

See articles here and here.

360 hours.
No wonder I’m losing my mind after having only 20 hours to do a thread by thread tear repair. This stuff takes time.

Photoset

cemeteryconservation:

Blessed to have meet and spent the afternoon with an a amazing artist and spiritual man, the Profit Isaiah.

That is beautiful!