Works on paper have been displayed behind glass since the seventeenth century and the survival of many historic works on paper is due in large part to the protection offered to them by this humble material. If glazing is judged to be desirable for the long term well being of an artwork, it is essential that the conservator is aware of all the options available before making a case for glazing and selecting the appropriate material.Ĭompared to the relatively recent phenomenon of glazing paintings, the value of protecting vulnerable works on paper with a glazing layer has long been recognised. The decision to glaze a work of art may sometimes be in conflict with the desires of curators or owners, or in opposition to the intent of the artist and how he/she understands the work should be presented. There may also be ethical concerns to take into account such as conflicts regarding the artist’s intent and/or the desires of art owners or curators. However, it is seen by most conservators and curators as a necessary evil and any advantages must be offset against well known disadvantages such as reduced visibility (including reduced light transmission, reflections, colour casts, distortions) potential breakage and damage to the artwork additional weight, cost and labour involved possible structural or aesthetic unsuitability of the frame and other issues such as static, condensation and thermal instability. Glazing helps protect the artwork from touching, impacts, spillage and other physical accidents dust and dirt, pollution, microbiological hazards environmental extremes and, in some cases, ultraviolet light. In light of the continuous improvement being made to the physical and optical properties of glass and plastics, combined with improved museum practice and safer art transport, the suitability of certain glazing products should be re-assessed. In selecting the most appropriate glazing for works of art on paper, or indeed for any work of art, the safety of the work itself is paramount. Building on existing internal research on glazing and framing for artworks at Tate, this article also looks at current glazing practice in that museum, and presents the results of further tests which have been recently conducted on the glazing materials used there. This paper examines the wide variety of factors including safety, cost, and physical and optical properties which must be weighed up when selecting a glazing material. The experience drew my attention to the aesthetic compromises frequently made when works of art are glazed, especially works on paper. As a result, Turner’s works could be appreciated without the distortions and reflections of the omnipresent layer of acrylic or glass which I had come to take for granted when viewing works on paper framed for display, loan, or exhibition. Standard house frames were rejected for works on paper and the watercolours and oil sketches were shown unframed, resting on sloped supports in old-fashioned vitrines or framed behind low reflective glass.
FRACTURE GLASS PICTURE WIDTHS FULL
In an effort to gain the full effect of these shimmering paintings and in a manner unconventional for Tate works, all the oils were displayed without their habitual frames and glazing.
Several years ago the Conservation Department at Tate prepared works for a remarkable display of late Turner oil paintings and watercolours at Tate Liverpool, celebrating the artist’s abstract depictions of light and air.
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