 Local
consolidation of insecure paint will be performed in all unstable areas but
especially in areas of exposed original paint. Richard Wolber’s suggests
dispersion consolidants (such as Beva D8 or Rhoplex acrylic adhesive) as they
accommodate expansion and of paint and ground layers. Perry Huston suggests that a wax consolidant may be the best option given
the need to help isolate the outdoor mural from climatic conditions. A
combination of microcrystaline wax, acrylic dispersions and polyvinyl acetates
in solvents will be required to meet the various conditions of cleavage and
penetrability of the paint layers and support. Some of these consolidants will
require local applications of heat and pressure. Thorough rinsing of excess
adhesive from the surface will be required.
The
multiple layers of latex overpaint and the tenacious oil paint layer will be
softened and “rubberized.” Once rubberized, the layers will be lifted off
the surface. The original paint is soluble at a different rate than the layers
of overpaint thereby making the separation of the layers possible. This removal
technique will avoid redissolving the paint layers with repeated applications of
solvents, thereby avoiding the penetration of the dissolved paints into the
mural’s degraded structure. Thorough rinsing with an appropriate solvent will
be required. Removal of the tenacious first layer of over-paint and discolored
varnish coatings from the mural’s surface may not be complete and a residual
may be left behind in the cleaning process to ensure the safety of the
surrounding areas of original paint.
Once
the original painting layers are exposed, a follow up treatment of the
consolidation process may be required in some areas.
The
wires and other foreign attached materials will be removed and the holes in the
substrate repaired with fill materials. Other losses in the support surface and
some deeper losses will also require fills.
Prior
to inpainting, an isolating varnish will be applied. The varnish will provide appropriate saturation and sheen in keeping with
the original intent of the artist.
At
this point, the murals along the Esplanade on the Centennial building will be
evaluated along side each other to compare and evaluate to what level should the
retouching or compensation be performed. All the murals will be inspected
together in order to get a uniform reading of their appearance.
Losses
will be compensated with Golden MSA colors, an easily reversible, stable
inpainting material. Conservation
standards and the AIC Code of Ethics requires that as much original paint and
what remains of the artist’s concept be retained as possible. This must be achieved without imposing interpretation and contemporary
values upon the original work. Important
clues to the original colors must be preserved. The “retouching phase” will not make the murals look new and, in
fact, certain affects of aging must be accepted. Normal aging cracks will not be
inpainted nor disguised; only large open cracks and inflicted damage. Inpainting
will not make the damage or filled area disappear, but will help it to blend
into the colors and composition readily. Aeroplane Transportation will read well
to the public viewer at it’s normal viewing distance and areas of damage will
not stand out.
Finally,
an appropriate, stable, final varnish may be applied to the surface. Tests will
be performed over the duration of the project to help evaluate which varnish
qualities will perform the best for these murals at this location.
Other Tests During the Project
Besides
the coating questions already mentioned, the extended period of the performance
of this project afford us the possibility to closely monitor other conditions.
Fading tests can be undertaken to determine the resistance of the original paint
layers and the inpainting materials to the environment. Observations of the
direct exposure of the painting to sunlight and other atmospheric conditions can
be recorded. These results will aid in determining the protection required
following conservation treatments.
Short Term and Long Term Maintenance Requirements
Once
completed, the murals are not expected to receive on going maintenance. However,
the popular concept of “restoring” art pieces “once and for all” by
treatment is an erroneous, misleading and dangerous concept. On going protection of the murals is extremely important, but any
techniques/ structures to accomplish this must be maintenance free. It is not
within the scope of this project to physically confront this issue. However,
proposals will be made and consultation is available. Periodic inspection by
trained and qualified personnel will aid in the maintaining and confronting of
the mural’s conditions as they arise.
This
report is part of a Conservation Treatment Proposal which will be updated and
expanded as the projects develops. This modified in-depth report complete with
photography will make up the final reports.
FACL, Inc. will work with the appropriate City of Dallas
or Fair Park or Park and Recreation departmental personnel to develop
educational ideas. No specific educational responsibilities are outlined in the
contract for this work beyond our collaboration for the “educational component
to be determined.” |
