{"id":38390,"date":"2019-10-29T15:49:12","date_gmt":"2019-10-29T19:49:12","guid":{"rendered":"https:\/\/rehs.com\/eng\/?p=38390"},"modified":"2024-10-27T17:23:24","modified_gmt":"2024-10-27T21:23:24","slug":"how-to-safely-navigate-the-art-market-those-bare-spots","status":"publish","type":"post","link":"https:\/\/rehs.com\/eng\/2019\/10\/how-to-safely-navigate-the-art-market-those-bare-spots\/","title":{"rendered":"How To Safely Navigate The Art Market: Those Bare Spots"},"content":{"rendered":"\r\n


\"john_bentham_dinsdale_e1223_the_flag_the_flag_the_precious_flag_banner\"<\/a><\/p>\r\n

\"Skinned<\/a>

Skinned area in the hair<\/p><\/div>\r\n

This month I am going to touch on something I consider a pretty serious condition issue — those bare spots on the canvas, or what is commonly referred to as ‘skinning’, ‘over cleaning’, or ‘abrasion’.

To begin with, we need to understand the difference between what an artist intended to do and what someone else may have done.

Throughout time, artists used different techniques to create a work of art.\u00a0 Among these techniques is removing paint from a work to expose the base coat, ground, or canvas weave to create a desired effect.\u00a0 Edouard Cortes<\/a> (image below) was such an artist, and when examining his paintings, you often find areas where the ground, or canvas, shows through.\u00a0 At times, he used it to give body to the clouds, depth to the shadows, or a rainy appearance to the streets.\u00a0 There is nothing wrong with this and are as the artist intended them to be.<\/p>\r\n

\"Detail<\/a>

Areas in the painting left
“unfinished” by the artist<\/p><\/div>\r\n

However, there are times when the ground or canvas is showing (bare spots), which was not done by the artist.\u00a0 In these cases, it is more than likely that the work has been ‘skinned’ or ‘over-cleaned’, leaving the areas abraded.

Before I go further, it is important to understand exactly what these terms mean and how this happens.\u00a0 When a competent conservator\/restorer cleans a work of art, they use a variety of chemicals to remove the old finishing varnish (the uppermost layer of the painting that protects the paint surface).\u00a0 Before cleaning the entire work, they will test a few areas along the edge to see how the varnish and underlying pigments react to various chemical mixtures.\u00a0 After determining the proper mixtures, they will slowly remove the finishing varnish.\u00a0 Knowledgeable and talented conservators understand the different drying times of pigments and what chemicals are normally safe for works from different periods; once cleaned, only the finishing varnish and any previous in-painting will be removed.

But what about all those individuals who fancy themselves conservators but do not have the in-depth knowledge needed to clean works safely from different periods?\u00a0 A work in their hands can sustain damage.\u00a0 Remember that strong chemicals are used to clean a work of art, and using mixtures that are safe for a 150-year-old painting might have disastrous results on a work that is only 50 years old \u2026 and vice-versa.<\/p>\r\n

\"Overcleaned<\/a>

Abrasion or over-cleaning<\/p><\/div>\r\n

The terms ‘skinning’, ‘skinned’, ‘over-cleaned’, ‘over-cleaning’, and ‘abraded’ are used interchangeably to describe a condition where the original paint has been removed by someone other than the artist.\u00a0 This could be as minimal as removing a visually imperceptible amount of paint from the upper layers to actually removing enough paint to expose the ground or canvas.\u00a0 Skinning can also happen to works that have never been restored \u2026 I am sure you are wondering: How is that possible?\u00a0 During my career, I have seen several paintings where a housekeeper used dust rags (with furniture polish) to dust the front of a painting.\u00a0 Over time, these chemically soaked rags did ‘clean’ the painting \u2026 cleaning off areas of the original paint and skinning the work.\u00a0 It’s not a pretty sight.

Once a painting has been skinned, there are only two options \u2026 one is to leave the areas as they are, letting the skinned areas show (see the images in this article), or paint over the damaged areas, thereby covering them up in an attempt to return the work to its original look.\u00a0 Either way, depending on the extent of the damage, the value of the work may have been altered.

People often ask about a work’s condition, more specifically inquiring about the amount of in-painting.\u00a0 An honest individual will detail any condition issues that exist.\u00a0 But what we are seeing more and more of, especially with works being offered in the public forums, are paintings that have been skinned and not in-painted.\u00a0 You might ask – why?\u00a0 Well, if the damages are not in-painted, then the condition report will state that there is no in-painting.\u00a0 If there is no in-painting, then most people think that the work is in good condition \u2026 and this can be very deceptive because a work that displays extensive areas of over-cleaning is not in good condition.

We all know that having a little knowledge can be dangerous \u2026 and when trying to determine a work’s condition, this saying is never more fitting.\u00a0 As a buyer, you must be conscious of all the subtle differences in the terminology used to describe a work’s condition.\u00a0 Aside from those already mentioned, others include ‘thinning’ and ‘thinned areas’, also used to denote over-cleaning.

As with any condition problem, the extent of the ‘over-cleaning’ (damage) will determine how much value, if any, has been lost.\u00a0 \u00a0A painting with some minor skinning in the background areas or a relatively unimportant part of the painting might still be classified as in fine condition, and there should be little change in the work’s value.\u00a0 On the other hand, if the work’s central focus, or large areas, has been skinned, then a detailed analysis of the damage needs to be made to determine how much value has been lost.

Ultimately, it is important to be aware that just because a condition report states that the work has little or no in-painting does not mean it is in good condition.\u00a0 There is more to it than what is written on a piece of paper \u2026 at times, it is what is not written!<\/p>\r\n","protected":false},"excerpt":{"rendered":"

This month I am going to touch on something I consider a pretty serious condition issue — those bare spots on the canvas, or what is commonly referred to as ‘skinning’, ‘over cleaning’, or ‘abrasion’. 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