Let's talk about ethics.
Picture this: You're a conservator in a prestigious museum (congrats!), and you are tasked with restoring the painting, Woman with a Parasol, by Claude Monet. In this scenario, the painting has been cut along the top of the canvas during its transportation to the museum's collection storage.
It's only ripped. No big deal. Just patch it up, right?
Yes, the tear is near the frame, but in this imaginary scenario the tear also thinly runs down the canvas, and clearly strikes through the image of the young woman in the painting. There's no way to hide the damage. Suddenly, the slashed painting is more problematic than we initially thought. You sure that you want to keep going?
Picture this: You're a conservator in a prestigious museum (congrats!), and you are tasked with restoring the painting, Woman with a Parasol, by Claude Monet. In this scenario, the painting has been cut along the top of the canvas during its transportation to the museum's collection storage.
It's only ripped. No big deal. Just patch it up, right?
Yes, the tear is near the frame, but in this imaginary scenario the tear also thinly runs down the canvas, and clearly strikes through the image of the young woman in the painting. There's no way to hide the damage. Suddenly, the slashed painting is more problematic than we initially thought. You sure that you want to keep going?
 |
| Woman with a Parasol, painted by Claude Monet. Source. |
Door Number One: If you choose not to restore the painting, the rip would likely get bigger over time, and it could never be displayed in such a state. Shame would cast a shadow over your institution (sorry, I'm excited for Game of Thrones), because the Monet painting was damaged while in your care. Too bad. There goes your reputation.
Door Number Two: If you choose to restore the painting, you will need to repair the canvas in the back, but also paint over the front image to cover the ripped edges. The question is, are you willing to paint over an original Monet? If the answer is yes, then welcome to the dark side of conservation practices.
The restoration of art is a task frequently given to conservators. Sometimes objects get accidentally damaged when moving between spaces, and other times it is an action that was purposefully done. Still, how much work can reasonably be done to repair a work of art, or an artifact, before the restoration impedes the integrity of the original work? At what point would a conservator become a contributing artist?
Now, I know these ethical decisions are hard to make, but don't worry. Remember our golden rule: The point of conservation is to protect the current state of the object, using techniques that are reversible in the future.
Ethically, conservators are restricted to doing only what is necessary to conserve the object. That's why we would have to repair the painting's canvas. However, adding more paint to the artwork, on top of Monet's existing work, is another moral dilemma.
Here's the good news: Paint can be removed. Impressionism art has layers upon layers of paint, which can be taken off, even if the paint has been dry for decades. If a conservator chooses to paint on top of Monet's work in order to cover the rip, then yes, the conservator's paint job is reversible. So far, so good.
Sorry, there's bad news: The extent of conservation on an object is subjective. Unfortunately, each conservator is not watched by a jury of experts in the lab, telling them when they've overdone it. How can we trust that a conservator knows when to stop tinkering, repairing, altering?
Don't forget, you are the conservator in this scenario. No one else. The decision is yours to make. The mistakes are also yours to make. Here are four important tips to following best practices when it comes to ethical dilemmas in conservation:
- Consult another conservator or specialized expert. Try to not to pick a friend, or a colleague in the same institution, when consulting for a second opinion. You wouldn't want any biased remarks in this case. You need brutal truths on how to proceed with the job.
- Research previously completed conservation treatments. There are many examples of a job gone wrong, and it is equally helpful to see what decisions you shouldn't be making. At the same time, a similar situation would show you the processes that someone else has already tested out before you.
- Trust your instincts. If you think that you're in danger of going too far, then the answer is probably yes. Do you think your hand is too shaky to patch up the painting today? Then, take a break. Are you unsure as to which solvent test to do? Ask someone. Don't guess, and don't push yourself to do the job.
- Take some risks. I know ethical dilemmas are scary, especially if you're the one in charge. Still, we should be trying to push the boundaries of our professions. Demand an answer to tough questions. If you have a strong rationale behind your decision, then do it!
Like most ethical issues, this topic can be debated, and I won't pretend to have a definite solution. However, I encourage you to think about these problems when you go on a museum visit, or tour a historical site this summer. Take a walk through the unknown and dangerous side of conservation!
