Message:

<p>[QUOTE=&quot;bosko69, post: 11448278, member: 16283&quot;]I&#039;d keep it too-but Art&#039;s our main thing (aside frm Cats,Gardens,Travel..<img src="styles/default/xenforo/clear.png" class="mceSmilieSprite mceSmilie79" alt=":shame:" unselectable="on" unselectable="on" />).</p><p><br /></p><p>As a caution re &#039;Restoration&#039; (<u>re: Inness anyway</u>),I did read this-</p><p><br /></p><p>&quot;...due to George Inness&#039;s experimental and complex painting techniques, some of his paintings were created with materials and methods that led to their deterioration, making certain details or even the entire image almost unidentifiable and functionally impossible to restore to their original appearance.</p><p>Inness often prioritized atmospheric effect and &quot;poetic truth&quot; over durability, applying paint thickly, &quot;wet-in-wet,&quot; and using various textural methods like scrubbing with his fingers and rags. This experimental nature, while contributing to his unique Tonalist style, often resulted in structural instability and material issues in the long term.</p><p><br /></p><p>A key factor in the difficulty of restoration is Inness&#039;s use of multiple, distinct layers of different mediums and glazes that did not always blend or adhere well over time. As art conservation aims to use fully reversible, archival-grade materials, working with these inherent instabilities and previous damage, including clumsy 19th-century touch-ups, presents unique challenges.</p><p><br /></p><p>For example, a painting like &#039;Curfew Hour&#039; at the Met Museum of Art has suffered from such severe deterioration of its surface and image that details are now almost unidentifiable.</p><p><br /></p><p>However, modern conservation techniques have successfully restored many Inness works, often by carefully reversing older, non-archival conservation attempts and stabilizing the canvas with new methods and reversible adhesives. Conservators can now devise systems where each new layer is a different, compatible medium that will not bleed into the paint below, allowing Inness&#039;s unique colors to be re-created where possible.</p><p>Ultimately, while some individual paintings may be too far gone for full restoration to their original state, many others can still be conserved to appreciate their subtleties and atmosphere.&quot;</p><p><br /></p><p>Wether this painter was an experimental Tonalist like Inness-who knows ?[/QUOTE]</p><p><br /></p>

Your name or email address:

Do you already have an account?

• No, create an account now.
• Yes, my password is:
• Forgot your password?

Stay logged in