The Conservation of Salvator Mundi, No Not That One.

this video is brought to you by Squarespace from websites and online stores to marketing tools and analytics Squarespace is the all-in-one platform to build a beautiful online presence and run your business [Music] in this video I'm gonna be focusing on a painting on wood panel a salvador mundi no not that Salvador Monday a different one and this painting is really quite old probably dating back from the 1500s maybe early 1600s and aside from being really dirty and having some flaking the main issue is that the panel has split in several places and this was due to some poor framing techniques and I'll get to that in a little bit but you can see that as the wood has moved some of the paint has flaked off this is almost unavoidable when you're dealing with a wood panel but proper care and precautions can minimize this effect in addition you can see the split right there and some old conservation now any painting of this age is definitely going to have old work on it and some of that old work is going to need to come off in order for me to do the conservation currently the back of the panel looks pretty good but you can see some areas where old supports have been attached in the past and those have been removed at some point in the past probably because they were ineffective but the scars so to speak are still there you can see some of the old cracks are still showing through and I'll have to address all of those but before I can address any of those I have to stabilize the paint layer first and so I'm using an archival reversible adhesive to just make sure that any of the areas where the paint is fragile or vulnerable aren't lost during the handling process because of course I don't want to do anything that would cause further damage to the painting and so I'm just using a very small hypodermic needle to inject and place that adhesive in and around and on the areas where the paint has started to flake or where it's been lost and this adhesive will be removed at a later point but until that point it's just going to hold that paint in place so that no more is lost now this adhesive is both solvent and heat activated so it's easy for me to remove in the future either with the solvent or by application of localized heat now the next step is for me to remove the painting from the frame and this is where I can talk about the reason that the painting has split you can see all of these mechanical fasteners these pieces of wood these brackets and then those little brass screws that I'm gonna be removing in a second that hold this other piece of plywood in these guys right here all of those exert pressure on the painting and they're designed to keep it in the frame and hold it flat but unfortunately when you try to immobilize a piece of wood the tension that's built up must go somewhere and so if the wood can't bow cup or twist or otherwise distort that tension has to be released somehow and in those cases the wood splits so in an effort to keep this panel flat whomever decided to frame it like this has effectively planted a little time bomb in this painting and so as the humidity changes and as the painting flexed and expanded and contracted and changed shape it was prevented from doing so enough and so it just split and so I'm gonna have to address that and address the poor framing choice later on the first thing I'm going to do is take a moisture content reading from the panel and as we can see it's at about 8% which is fairly dry and stable and that's okay but in order for me to handle the panel and to repair the splits I need to make the wood a little bit more flexible and I do that by introducing humidity so I've created a little humidification chamber with a portable greenhouse and a humidifier and I'll set the humidifier at a pretty high rate of humidity maybe 75% because I want this entire chamber to be really humid so that the painting can absorb this humidity I'll keep an eye on it with a digital gauge that's a little bit more accurate than the humidifier and I'll check on it throughout the day and the week it's important to keep an eye on this because you want to make sure that the painting doesn't absorb too much moisture and really distort and so I will make multiple checks and when it finally reaches a level of humidification or moisture content that I'm happy with I will proceed to the next step now again I'm gonna take a moisture reading because I want to make sure that the painting has absorbed enough moisture to be pliable but not so much moisture that it's like a noodle and so we can see here I'm at about 19% which is fairly high and the reason that I have humidified this panel to make it more flexible is because I want to bond the panel back in the shape that it naturally wants to exist in and so you can see me flexing the panel into its natural bowed state if the panel were dry at 8% it probably would have cracked at this point and I definitely don't want that to happen so I'm gonna take a tracing of the panel in its bowed state and I'll use that later on to create a jig and paper-and-pencil are perfectly fine for my needs here but come on let's be honest what are you gonna do with paper and pencil aside from doodle your favorite web design company's logo I mean if you want anybody to see what you have to say you need to get it out there and the best way to do that is with a website and with Squarespace it really couldn't be easier with a few clicks you can get a domain and build a website and start sharing your creativity or your biz with the rest of the world and if you make a mistake he happened to color outside the lines Squarespace has 24/7 human support so they'll get you back up and running in no time and when you're ready to launch go to squarespace.com slash Baumgartner to save 10% off your first purchase of a website or domain so back to the painting now before the break you saw me take a tracing of the painting in its flexed and cupped State and I want to bond the panel back together in that state because that's the state it naturally wants to be in but in order to do that I have to create a jig to hold that shape when I'm gluing the panel back together so I've taken that tracing and I've transferred it to some stock pine and I'm here at my bandsaw removing the material that I don't need and preserving the shape of the panel now I'm not going to create the jigs just out of wood because I don't want the wood to touch the surface of the painting that would be a little too rigid and too hard so I'm going to be adhering some felt to this wood now I am using an archival adhesive here because I want to make sure that nothing off gases through this felt onto the surface of the painting it may seem unnecessary but these are the steps and precautions that you got to take when you're dealing with artwork so I'm adhering this felt to the wood and that's going to provide a little bit of margin of error for the shape of the panel and also make sure that there's a soft surface touching the painting itself now with the jigs created I'm ready to begin the process of bonding this split panel back together and for that I'm going to be using material that you may be surprised to see me using and that's hide glue and this is certainly an imperfect adhesive and one that I don't use very often but after consulting several wood conservators objects conservators furniture conservators and other paintings conservators who have dealt with wood panels the consensus was that as imperfect of an adhesive as high glue is it really is the best one for this application so using a hypodermic needle I'm going to try flood this joint with as much adhesive as I can now this is a pretty thick adhesive so it's gonna take some time to slowly drip down and penetrate into that crack if the panel were split into two it would be much easier because I would have access to both sides of the joint but I don't and I don't want to flex this panel too much because I don't want to run the risk that it splits any further now keep in mind it is humidified so it's a little bit more flexible but I still want to be careful so I'm going to apply the adhesive to the surface of the painting and allow it to slowly drip down into that crack where possible I can flex the panel a little bit to get access into that crack and inject the adhesive directly and that's going to ensure that I've got a really great bond for both of these pieces of wood now I'm also going to apply some adhesive to the face of the painting so that I can ensure that both sides get enough adhesive I can always wipe off the excess and the painting hasn't yet been cleaned so there is a layer of old surface grime and varnish atop the painting that's protecting it from the Hide glue now one of the other reasons I chose high glue is because it has a fairly open adhesion time so that means it's not going to dry very very quickly and harden like some synthetics which gives me plenty of time to set up the jigs that I've created and get the painting all clamped up because this painting is gonna require quite a few clamps to maintain pressure not only against the split and to make sure that there's a good bond there but on the jigs as well to make sure that the shape is being preserved so I've put some silicone release film on the surface of the painting and even though I have that felt I still want to make sure that the painting is isolated from that material I don't want to scratch the painting if there's something in the felt and the silicone release film also just makes sure that if any high glue seeps out it doesn't bond itself to the felt and then I have to deal with that so I'm using a lot of calls which are just scrap pieces of wood and I'm gonna start off by using some simple hand clamps to get everything set up and once I've got these hand clamps all secured and in place I will move on to other clamps that will allow me to exert more pressure across the painting and to get it in a state that I like now it's important as I'm going along and clamping everything that I make sure that the painting is in the state that I want that the jigs haven't slipped that the silicone release film hasn't moved that the high glue hasn't dried too much it's just a slow process and there's really no way to rush it but if you take your time and you do everything right the results are going to be good so you can see as I clamp down on the painting the felt distorts a little bit and conforms to the shape of the surface of the painting while still exerting some force on the painting to restore it to that bowed shape that I want it sounds complicated it's a little difficult to explain but hopefully when you see it it makes sense and so now with the first round of clamps applied I can begin putting on another set of clamps it's gonna exert pressure across the painting and these are really what's going to make sure the split is well bonded I'm gonna use little pieces of wood to make sure that the clamp doesn't depress directly on to the edge of the board because this is really really old wood and I don't want to run the risk that it damages the board also this little piece of wood will give me a more even clamping pressure across this edge again there's no way to rush this and if I had another set of hands it'd be easier but I've done this many times before and I've learned lessons throughout all of those trials and so I'm a little bit more adept at doing it this time and I was at the time before and the time before that and the time before that and the next time I do it I'll be even better than this time and so again I'm just installing more clamps and I've got some behind the painting and I'm going to put some in front of the painting so that I'm getting equal pressure because even though these clamps are exerting pressure one way they can still distort the panel a little bit that is if I were to only put the clamps on the back of the painting they would want to pull the painting in one direction if I put the clamps only on the front of the painting they would want to pull the painting in that direction too so by putting clamps on both sides I can exert even pressure and minimize the amount of distortion that the painting is subject to and when you're gluing up something whether it's a piece of furniture or a panel there there is never a time when you would have too many clamps more clamps are always more better and so I've got three six seven eight nine ten clamps on here right now but I'm going to be adding more because I want to make sure that I've got equal pressure across the panel in multiple directions I would rather have a lot of clamps exerting a little bit of pressure than a few clamps exerting a lot of pressure clamps can sometimes skip and I don't want that to happen in this instance and of course I've got the clamps so there isn't any reason why I wouldn't use them now every time I tighten one clamp I go when I checked the other clamps to make sure that they're also exerting good pressure because as you clamp anything down it's going to move a bit and you want to make sure that all the other clamps that you've previously installed are still maintaining good pressure and so here we can see exactly why I created a jig this painting is now secured in the state that it wants to be in and it's being bonded together in that state without those jigs I wouldn't really be able to bomb the painting in that bowed state I'd have to bond it or attempt to bond it flat and that's not how the painting wants to exist now and so I want to bond it back together in that state that is going to keep the painting as stable as possible and so here you can see that curvature of the panel being mimicked by the wood and the felt and it's providing good contact and support across the entire panel so it's not just where the clamps are but that pressure is being distributed across the entire thing which is really important to make sure you get a good bond and you don't run the risk of deforming the painting now through the magic of editing I've let this painting sit for three days and that's gonna give it plenty of time for the adhesive to dry and to stabilize and so now I'm just gonna be removing the clamps and just like putting the clamps on there's nothing special or magical about this it's just a matter of going slow and taking your time and making sure that you remove them and they deliberate even Manners so that none of the calls snap back or fly off and basically I'm really keeping an eye on the painting to make sure that there's no unnecessary tension placed on it I don't want the painting to all of a sudden now be subject to an unknown force and then split in a different way you could seen I've added some other blocking and clamps there just because I saw some areas that I wanted to exert a little bit more force and a little bit more pressure on that weren't being met by the existing clamps so those blocks in the back there that I'm removing now those and the felt were used to provide some pressure on those two spots in particular because I couldn't reach them with the clamps otherwise and now this is always kind of the moment of truth when you're taking off the last couple of clamps and you can see a if the bond has held and B if the shape has held and luckily for me it has and so we can see the painting is now unified and the curvature has been preserved which is exactly what we wanted and now with the panel stable and unified I can begin the cleaning process and this naturally begins with removing the surface grime that has accumulated on the painting and I'm using a paste here to soften and lift up that surface grime which consists mostly of oils dirt dust and other particulate and I need to do this for a couple of reasons but primarily because I need access to the varnish layer which is underneath this surface crime and the solvents that I'm going to be using to remove the varnish don't penetrate through this accumulation of surface grime very easily and when that's the case oftentimes one will turn to stronger and stronger solvents or more aggressive techniques and I want to avoid using very strong solvents and very aggressive techniques if possible so by removing this layer of surface grime I will reveal full access to the varnish layer which can then be removed safely and deliberately though this painting isn't terribly dirty but you can see that enough grime is coming off that it makes a big difference and I'll work section-by-section removing the surface grime until I'm confident that all of it is off and I can begin removing the varnish now unlike cleaning the paintings varnish off I don't have to worry about damaging the paint layer because the surface crime is just sitting on top of the varnish layer which in this case is protecting the original paint and when I'm satisfied that all the surface grime has been removed I'll move on to the next step which is removing the old varnish layer and I'm going to be doing something a little different this time I'm going to be cleaning the painting under UV light or blacklight so that you can see what it looks like when the varnish is removed I've often talked about using black light to reveal old varnish and retouching and now I want to show you what that means so as the lights go dark and the black lights go on you can see the painting come into focus you can see that there painting has an overall green haze to it and that's old varnish you can also see right above where I'm cleaning there's a rectangle where I've removed that old varnish and you can see the original paint below it now there are other areas on this painting that are fluorescing dark purple and those indicate old retouching and I'll get to that in a little bit but as I roll the swab with solvent on top of the painting you can see the varnish start to dissolve and be picked up by that swab now right above where I'm cleaning there's a spot that's darker than the other areas and that's old retouching and as I switch from UV light to visible light you can see right there that's three touching and using the solvent I can begin to remove it and when I switch back to the UV light you'll be able to see what I mean when I say that it flores's a different color it's a little bit darker dark purple black that usually indicates retouching not always but usually and so you can see as I'm working through the painting to remove the varnish the original colors come through as always I'm working in a deliberate controlled manner and focusing on one color and one shape at a time because I want to make sure that I have control over what I'm removing because not all of the paint on this painting is as stable as the other paints and that is some of the paint like in the background is a little bit more fugitive and I have to use a more mild solvent and a more delicate approach now I'm wearing UV protecting glasses here because I'd like to keep my eyesight and prolonged exposure to UV light is bad for you so again I'm just slowly working my way through the painting and I'm focusing on the red areas here I'm not going to be cleaning the fingers just yet because I don't know if the solvent mixture that I'm working with is appropriate for that section I'll have to make some tests to determine that now here you can see a lot more retouching come visible and it wasn't really visible when the varnish was on the painting because this varnish is so yellowed and so thick that it of the skates the retouching and so I've cleaned the majority of the left side of the cloak and I'm working on the right side and you can see there's a lot of damage that was retouched all of those little white spots indicate paint loss that was retouched and the retouching has been removed so now we can see areas that I'm going to have to retouch and now I'm going to start cleaning the area where I know there's been some structural repairs and retouching and it's always exciting to remove the varnish in an area that you know that's been worked on because you never know what you're gonna find and in this case I'm finding not only a lot of retouching but I'm finding some residue of glue and you can see these blotchy areas that are a little bit lighter and then kind of white or light green that's the old glue and I'm guessing that that's an animal-based glue hide glue or rabbit skin glue and you can see the solvents do nothing to it they won't cut through that adhesive so I'll have to come back later on with water and remove that residue because I don't want it on the painting so that's the old adhesive residue you can see it throughout and that is old retouching and you can see how it flores's darker than the other paint so with all of that retouching removed we can see just how much fill in medium was used by the last person who worked on this painting I'm suspicious of why that much was needed and we'll find out about that in a little bit so at this point the majority of the figures been cleaned except for the face and the face looks pretty blotchy right now there is a lot of retouching on it you can see some of those larger splotches right there and this painting has been worked on a lot over the past several hundred years and unfortunately much of the original painting is probably no longer here and much of what we saw with the naked eye was just over painting and I'm gonna be removing most of this because I want to get back to the paintings truth so to speak get back to what's left of the original and then we can talk about putting the painting back together so as I clean the painting you can see some of those darker areas particularly in the eye that's all retouching and some of this retouching was done in oil some of it was done in watercolor or gouache and they take different solvents to remove but ultimately all of it does need to come off at this point the paintings been fully cleaned and almost all of the retouching has been removed and I will transfer that over to my table where I will begin to remove the excess glue adhesive in addition the water is going to lift off some of the old gouache or watercolor retouching that was laid down before they did the oil retouching as was common many many years ago and now I can start to remove some of that old fill-in material and I want it gone because I don't know what it's made of and I can probably use a better material to fill in but mostly I want to check to see if it was really necessary now this panel had been broken and repaired once before and when the panel was glued back together it wasn't aligned properly and so whomever glued it back together saw fit to correct their mistake of aligning it improperly by just building up a layer of fill-in material to try to smooth out that Ridge which is absolutely crazy unfortunately I can't undo that because the adhesive that was used was not a reversible adhesive so that bond is now permanent and the only thing I could do would be to split the panel again and rebonding but I don't want to do that because it's too risky I can't guarantee it's gonna split on that glue joint and I don't know what I'm gonna find so the best I can do is to remove the excess filling material and then fill it in more conservatively with a modern based medium and I'm going to apply it over the entire area liberally and smooth it out luckily this painting does not have a lot of impasto in fact it's very very smooth so I don't have to worry about texture all that much in fact I want to make sure there's almost no texture in the fill and medium so I'll apply it throughout the areas of losses and over this Ridge and I'm not going to be building it up because it's not necessary and it's inappropriate I'm only trying to fix the areas where there has been paint loss so I'm going to apply it liberally smooth it out and then I'm gonna slowly work to remove a lot of this medium and first I'll do it with my tool and then I will switch to swabs and brushes and anything else that will help me remove this fill-in medium after it's dried and this fill and medium is flexible so it should not crack or break as the panel expands and contracts which is really important because I don't want there to be an area where we get a hairline crack in a couple of years so you can see all of the areas that I've overfilled where there's been paint loss and now I have to go back and remove it I know it sounds crazy but I'm using my fingerprints to act as a an abrasive or a sandpaper so to speak to remove a lot of the fill and medium I need to make sure that the area is smooth and the best way to do that is with your fingerprints because they are really sensitive and the extra abrasion quality that they have helps remove the material without having to resort to sandpaper or anything like that and then I can switch to swabs to remove the excess material and get a little bit more delicate and I'm going to try to remove as much of this as possible while still leaving enough that the areas of losses are filled in but not so much that it's excessive or that there's unnecessary medium on the painting so now I'm ready to apply the isolation layer and there are a lot of reasons to do this but for this painting the main reason is so that I can get an idea of what I'm working with as you can see the painting is really washed out and if I try to retouch against that when I put the final varnish on my retouching is going to look wrong so I apply this layer of synthetic resin that's ultraviolet stable to the painting and it allows me to see what the colors will look like when it's finally varnished so that I can match my colors accordingly now this is a heavy molecular weight resin meaning that it's going to rest atop the painting and this is also really helpful because these old master paintings have a tendency to absorb varnish unevenly and the final varnish may look blotchy without this under of isolation resin beforehand and now on to retouching this painting had a lot of paint loss and some of it was very consequential like in the face and some of it was not so consequential like in the background or the red of the cloak and I'm going to start off with the areas that are going to be easier to retouch because it's just easier to start off with an easier area but also I want to get familiar with the artists palette and how colors were mixed and I want to see how my colors are going to work with the artists palette so I'm using archival and reversible paint and that's important because if in the future someone decides that I did too much or too little or just doesn't like the way I did it they can remove all this work without running risk of damaging the painting and so the first thing I'm going to do is lay down a block of color in the areas of loss and this is where I take a guess at the color and lay it down first and here you can see with the red I'm pretty close gonna come back later on and add some darker color or some lighter color a little bit more orange perhaps but this is important to get an idea of what colors I need to mix and to start to integrate the losses back into the painting now here I'm retouching the area where I glued the panel back together and you can see the difference and how little filler I had to use compared with the previous repair on the right hand side I'm gonna slowly just dot this away and you can see that it doesn't quite look right the paint color isn't quite a match until I run over it with a little bit of mineral spirits which will simulate the final varnish and it disappears now the red and the background were pretty easy to retouch I know that sounds crazy because it may seem really hard but the red was actually fairly straightforward there weren't a lot of editorial decisions I had to make with the red or the background but the face is a whole nother story this painting had really really been abused in the it had been way way over cleaned and that technical term for that is skinning and a lot of the original paint had been lost and then in successive restoration attempts the people had used the original paint kind of as a guide to repaint the face and that is they looked at what was left and then they made a decision about how it should look and added a lot of paint to the painting sort of paint-by-numbers if you will and I'm really trying to avoid that because that's not my job and I don't want to get into a situation where I have to make a lot of editorial decisions because that's not the conservators role but in a case like this where there's so much losses it's a fine line and there is no clear delineation between too little and too much and again that's why we're using reversible paints so that if in the future the consensus is to do no retouching all of my work can come off if in the future the consensus is to repaint the whole face well my work can come off and that can be done now the hand on the other hand is pretty easy to retouch there's a lot of paint loss but there isn't a ton of detail so I really can just focus on making these distractions so to speak go away and as I do that the hand starts to come into shape into focus and you can start to see it as a hand rather than as a hand ish looking blob with a lot of damage but again I'm really trying to limit how much paint I add because I want to preserve as much of the original and only address the losses now at some point this painting had gold leaf on it but through successive cleanings that were a little too aggressive a lot of that gold leaf was lost I'm not going to be leafing it with gold because it's not a suitable material for me to work with in this case but what I am going to be doing is making my own gold paint out of mica powder and ultraviolet stable synthetic resin and mica powder is a mineral that when crushed and pulverized has a shimmer to it and there are different colors of mica powders so I have four different colors of gold right here and I can mix them and add them as necessary and though it's not real gold leaf it's going to give the impression of gold leaf and again what I'm trying to do is retouch the damage away enough so that your eye isn't drawn to it so that you can see the painting as a whole and not see the damage now it would be impossible for me to leave all of these tiny little areas of losses and that's why I'm using this gold paint this too is reversible that resin that I mixed the mica powder with is reversible and I'll slowly work my way through here and try to address as much of the losses as possible without kind of going overboard because particularly with metallic or gold pigments it it really doesn't look good if you try to integrate it fully without kind of making it look old and damaged so I'll lay down some colors and then I'll come back in and add some kind of dirt I guess you'd say or losses so that it blends in and ultimately if I get it right I think you won't notice these areas of loss and you'll just see the painting as a whole and now on to varnish once I'm satisfied with my retouching I can go ahead and put that final coating of synthetic ultraviolet stable resin atop the painting and that's going to give it the final Sheen that I want and really bring it to life so I'm gonna mix my varnish out of gloss and matte varnish and I do this because I don't really want full gloss and I don't really want matte I want something that's glossy ish but a little bit more satin I'm adding an ultraviolet inhibitor to it so that the varnish doesn't break down with exposure to UV light and then I'm just going to apply it via well charged natural bristle brush to the painting and you can see on the painting there are areas that look a little bit matte those dots that's the retouching and this is another reason why the final varnish is pretty critical because it unifies the sheen so it takes those areas where I've applied retouching that look a little flat or matte and it brings them into unison with the rest of the painting so back and forth back and forth slowly just applying it with brush and then I'll go back and remove any little hairs that have fallen in or little bits of fuzz now ultimately I decided that I wasn't happy with that Sheen I wanted a little bit more gloss and so I'm coming back with a high volume low pressure spray gun and applying another coating of varnish and I can do that because I'm spraying it on if I tried to brush it on I would disturb that first layer of varnish and would become a goopy mess now at the top of the video I mentioned that one of the reasons this painting had split was because of the framing choice that was made in the past and I'm gonna do everything I can to correct that because I want to ensure that the painting has a long life and that we don't run into another problem of a split panel again so I've taken that template that I made for the jig's and I've transferred it to some polyethylene foam which is an archival material it's inert it won't react with anything and it's flexible and soft and that's really important I'm taking this piece of polyethylene foam and I'm gonna be wrapping it in black linen and I'm going to be wrapping it in black linen for a couple of reasons one it looks a lot better than just having a piece of foam laying around black looks a little bit sleeker you won't notice it when it's in the frame it's also softer and I want to make sure that the foam doesn't scratch the varnish and it also just looks more professional and I want that to be the case with all of my work so once this foam is wrapped in the black linen I can start to use it to build up a little liner inside the frame rabbit and this is what the painting is going to come into contact with so I'm going to line that rabbit which is a groove in the wood with the painting sits in with these pieces of linen wrapped foam and they are contoured to the shape of the painting and effectively what I've done is create a situation where painting is touching and resting against these soft pieces of foam and linen and then I'm going to apply more foam on the back and use this with picture framing brackets to hold the painting in place and so what I've done is place the painting into a foam encapsulation that will allow it to move as necessary because if we remember this wood is going to expand and contract and twist and turn and do all sorts of things with humidity changes and I want that to happen I'm not trying to immobilize the wood because that tension has to go somewhere and if you immobilize the wood it's going to go into the middle of the painting and it's going to burst so by sandwiching it in between foam I've created a situation where when the painting needs to change shape all it has to do is push against that foam and because this foam is relatively soft it's not going to be providing a lot of resistance against that movement and so with all of the conservation work complete the painting stabilized the crack repaired the old retouching remove the painting cleaned and the new retouching applied and the painting in a new frame system that will prevent any further damage all of my work is complete this one was a really interesting project because while it seemed to be fairly simple there were a lot of ancillary efforts that were required to make sure that it was a success things like building the jig humidifying the panel creating a novel framing technique and those are all things that are in the wheelhouse of the conservator it's not always just scrubbing paintings clean and retouching as a conservator you have to be able to address these unique and odd occurrences as they come along and if you do so correctly and you do so successfully the painting will have a long life beyond you and that's what I hope I've given to this painting I hope I've restored it back to a state where the client can enjoy it for what it is where they can see the beauty in the brushwork or they can see the drama and the figure and where they can know that this painting will be stable and sound not only for their lifetime while they own it but for the future and for whomever owns it going forward so as always I hope you've enjoyed stay tuned for more and go ahead and give us subscribe

Channel: Baumgartner Restoration

Views: 2,164,065

Rating: 4.9472508 out of 5

Keywords: Art, fine art, art conservation, fine art conservation, art restoration, fine art restoration, painting, painting conservation, painting restoration, oil painting, restoration, conservation, ASMR, Chicago, craft, oddly satisfying, Baumgartner, Julian, paintings, cleaning, scraping, repair, old art, new again, restore

Id: leoSW5fXmiM

Length: 40min 6sec (2406 seconds)

Published: Mon Dec 16 2019

Reddit Comments

[u/StuffHobbes]

This guy's work never ceases to amaze me.
Just the amount of patience is staggering.
I wonder if he has any other employees or an apprentice to take on the "easier" works.

[u/TheNo1pencil]

I stayed in bed and missed my train this morning cause I saw this video was posted and had to watch it immediately.

[u/kaelyndraws]

If I’m ever struggling to fall asleep I just have to put on one of his videos. Immediately makes me so relaxed and drowsy. He’s so incredible talented!!