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ACQUIRING PAINTINGS

Looking for art is part of the enjoyment of collecting, each new item acquired brings with it the story of when and where it was found, and art may be found everywhere. But sometimes what you see is not what you get.

Looking for art to have and enjoy is one thing, trying to find a fortune is another. In acquiring art as with most things, the one with the greatest knowledge most often wins. If you do not have the expertise, find someone who dose, don't be confused by interesting stories or the implication that the art is worth much more than the price being ask. Always ask yourself, is it a good buy for me?

Look at the condition of the art, no one wants to acquire a painting that will not last or one that has been altered to the extent that the original artists work has been completely changed. A restored painting is fully acceptable even desirable but be sure to establish to what extent the restoration has been done. A good restoration, or conservation work should maintain the integrity of the art. Conservation and restoration work should extend the life of the art, not change or alter the original artists concept. Some type of work will eventually be necessary for all art, as it is a important part of its normal care and maintenance.

Art suffers by age indifference and abuse. Much of the restoration today is done on art that has been poorly fixed in the past by artist, framer, owner or friend because the value of that art at the time did not warrant proper care. Art has been altered, changed, damaged and destroyed by armatures with the best intensions.

There is no book or simple set of instructions that accompany art. The care is dependent on the individual art, its composition, age, previous treatments as well as a long list of possible existing conditions.

A experienced professional who understands and has worked on that type of art should always care for Art. This sometimes this requires more than one conservator to adequately maintain an diversified collection. There are many things you can do yourself but it is important to fully understand your limitations and know when to get professional help. Unfortunately some art has inherent problems it may be in the materials used or in the techniques of application. Some contemporary art has been done with incompatible materials, artists using a great variety of paints mediums and varnishes that may not always be compatible.

The condition of any art you intend to purchase must be considered. Condition is best checked with the art out of the frame. You should see the edges as well as the front and back. Examine the face, look for consistency, dull no reflective surface, layer of visible dirt. Some paintings may have several coats of yellowed varnish. It can hide damaged areas. All old paintings have cracks in the surface; this is part of the aging process. Exceptional cracking or cracks that are cupping or beginning to curl at the edges are an indication that the paint is pulling away from the canvas and restoration is or will be necessary.

Looking at the back of the painting the stretcher bars should be expandable with keys in the corners they should not be split or cracked look for water stains on the canvas. Paintings that have been exposed to excessive moisture often begin to flake at a latter time. Look for patches indications of restoration work. Check the edges of the canvas if it is dry and brittle it has lost its life and will be in need of restoration. Hold the painting up to a light and look at the back thin areas small holes and canvas inconsistencies will be visible. If the canvas has holes or areas of weakness restoration will be necessary. Restoration may be undetectable to the naked eye and a true evaluation of the condition only possible on close examination by a professional.

All these methods of examination can be done by anyone and will give you a better idea of the condition of the art or at least give you some idea of areas to question. Condition is important step when considering the purchase of at older art.

With contemporary art look at stretcher bars, canvas, panel or whatever the support may be. Ask what materials were used to create the art as well as what type of varnish if any was used. Beware of the statement mixed media it may only mean the artist doesn't remember and no one will tell you what the life expectancy will be.

Gallery or conservator examination most often involves the use of ultraviolet light the type commonly called black light. In a dark room a black light fluoresces the oils and pigments and will most often show changes as darker areas of blue violet. Techniques can be employed to fool the black light. And artist's original techniques may not always be consistent. To truly understand the effective use of a black light takes years of use to distinguish just what you're seeing. But this type of examination will most often provide clues as where to look.

Most galleries and dealers will be happy to show you the condition of art under a black light and to explain to just what extent a painting has been restored. If you are not buying the art from a gallery or dealer it is always prudent to purchase with the stipulation that the art be inspected as to condition and have an independent conservator examine it with you.

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