What Every Art Buyer Should Know
Why is Good Craftsmanship Important?
What is Good Painting Technique?
How a Painting is Put Together
What to Look for when Buying a Painting
The Next Step
If you've read the preceding sections carefully, you may be feeling more confident in your ability to avoid investing in a "lemon" that will require high and costly maintenance. But you may also be feeling a bit overwhelmed with all this new information. Afterall, many buyers of art are completely unaware of these technical issues and make their purchasing decisions based entirely on aesthetic issues. Will you continue to do so yourself?
Let's imagine that you walk into a gallery with your checkbook and find three paintings that match your price and aesthetic requirements perfectly. Would you now feel safe spending your hard-earned dollars on any one of them without thinking of technical issues? What if you were told that two of the three had been made using bad materials and techniques and would cost hundreds of dollars in repairs over the next 30 years? How would you make your decision? Could you tell which one of the three was the good investment?
Bearing in mind a few rules of thumb, even the most casual of art collectors will be armed with the knowledge they need to avoid the most common examples of bad materials and technique. Those readers who take this knowledge with them to modern galleries and museums will probably be amazed at the large numbers of paintings that violate the most basic rules of good painting. Since you cannot always rely on the artist or dealer to tell you if you are making a dangerous investment, having a safety checklist can come in very handy. The following is provided as a quick and easy guide for avoiding the most basic pitfalls. It is, however, by no means comprehensive and is only meant to help the viewer identify the most flagrant offenders of bad technique.
The Surface of the Painting
1. Has the painting been varnished? Look at the surface of the painting. Does it have a smooth, even, glossy sheen to it? If it has been varnished using a natural resin varnish, it should. Some synthetic varnishes give the surface a matte finish, but should still provide a fairly even appearance over the entire surface. If the surface has an uneven balance of rough and smooth areas, or any particularly dry-looking spots, it probably hasn't been varnished. This unevenness of surface can be best seen by looking at the surface closely from an angle, which makes the reflective glossy areas most obvious. If the painting hasn't been varnished, it should be either before you buy it or shortly thereafter. Don't be afraid to ask the dealer if a painting has been varnished. Even if a painting is still unvarnished because it is being allowed time to fully dry, you should be aware of that fact so you can bring the painting back in after an adequate amount of drying time has passed and have a safe coat of varnish applied. An unvarnished painting is in constant danger of sustaining permanent damage.
2. Has the entire surface of the fabric been coated with paint? Look to see if any of the fabric support has been left uncovered in paint. Even the thinnest areas should have at least a simple coat of paint. If not, be prepared for problems to arise in the future.
3. Has the artist incorporated elements other than paint into the design? The presence of any materials other than pure paint in the surface of the painting will almost inevitably cause problems down the road. Especially if the materials are organic and prone to change, such as paper, cigarette butts, leaves, tape etc. Avoid such dangerous "collage" works, as they are usually impossible to preserve beyond their natural life span.
4. Has the artist used a dangerously thick impasto? Check the thickness of the layer of paint. Does it project off of the canvas in clumps and create a three-dimensional, putty-like effect on the surface? The use of such heavy impastos means the paint will take a very long time to completely dry. It will also form a hardened layer that will be much more prone to cracking and flaking than a thinner paint layer. At least a hint of the texture of the fabric support should be visible through most of the surface of the painting. A few thicker highlights here and there won't hurt, as long as they do not form large areas on the canvas. But large impasto areas of several inches or more in size pose potential future danger zones and are prone to severe cracking and flaking. This can be impossible, or at the very least expensive, to fix down the road.
5. Has the artist used a dangerously thin paint layer? If the texture of the fabric support is extremely prominant across the surface of the painting, or in large areas of it, the paint probably has not been applied thickly enough. If any actual fibers from the fabric can be seen sticking out from the surface, the artist has almost certainly not used enough paint. This will cause problems when the painting needs to be cleaned in the future. A common hallmark of too-thin regions of paint is when actual dripping of paint can be seen on the surface. Many artists use thin washes of paint to work out their design before applying thicker layers of paint. These washes are extremely thin, very low in oil content (very lean) and tend to flow freely on the surface, which often leaves long drips running down the surface. If not subsequently painted over with a thicker layer of paint, these areas become potential danger zones which may be difficult or impossible to clean, or which may actually lose their color when the varnish must eventually be replaced. Be wary of paintings that show obvious dripping of paint on the surface.
6. Was the painting painted using rich on lean technique? When considering buying a painting, it's necessary to carefully inspect the surface. Take a couple minutes to get close to the surface and go over it with an observant eye. Check to see if any cracks are visible on the surface. In the case of older paintings, a fine, even, subtle crackle is normal, but this should not develop for 50 to 100 years in most cases. If a contemporary painting shows any signs of cracking, it is because it has not been painted according to proper technique. Such paintings will continue to deteriorate over the course of time. This flaw is especially noticeable in cases of non-uniform cracking. Cracks that appear only in specific areas on a painting, or that appear anywhere on a painting completed within the last 10-20 years, are a foolproof sign of bad painting techniques or materials. Minding this single fact alone--and avoiding such paintings--will be an immeasurable aid for any art patron. Inspect your paintings closely before you pay good money for them!
The Fabric Support
1.Did the artist paint on linen? Check to see if the artist used a linen support on which to paint. You can do this by looking at the back of the painting. If the fabric is white or off-white in color, the painting was probably rendered on cotton. Good linen will be a light brownish color and have a relatively tight weave with coarser and more natural-looking fibers. Linen used in painting should not be confused with the linen fabric used to make tablecloths and clothes. Proper linen can only be purchased in art stores. Fabric labeled "linen" that is available in fabric and sewing shops is not suitable as a painting support. Quality paintings are always rendered on linen, never cotton. Linen is a much more stable support, expanding and contracting less with environmental changes, and thus placing less strain on the dried, brittle paint layer.
2.Was the fabric pre-primed? Check to see if the artist used pre-primed linen bought from a store. You can do this by looking at the extra fabric that extends over the sides of the stretcher frame. The fabric should be treated with a clear glue size, but should not have a layer of paint or priming medium on it. Pre-primed canvas is usually pre-coated with a white acrylic priming medium. If the extra fabric has this layer on it, it means the artist bought the fabric pre-primed from an art store. Pre-primed fabric is mainly unsafe for two reasons:
First, since the artist himself did not prime it he can't be entirely sure what process or materials were used. Second, it's impossible to know exactly how long the fabric has been lying around in a warehouse. Stretching it on a frame after a long time could result in an unsafe support for the painting. Also, the fabric is stored in rolls, which means that the priming coat could potentially already have been under stress for some time before being used as a painting surface. Make sure the painter has used raw linen that he primed himself. If he has, the fabric on the edges will be a natural brownish color and will have a coat of clear glue size on the parts which are on the sides of the stretcher frame. Some painters like to apply a layer of priming paint to the sides of their paintings to make them more presentable while unframed. Even if this is done, the excess of fabric folded back onto the rear side of the painting should be raw and untreated with any kind of glue or paint. If all the excess fabric on the sides or rear of the painting is coated with an even (usually white) layer of paint, you can be fairly certain that pre-primed fabric was used.
3.Has the artist left enough extra canvas on the sides? There should be enough extra fabric on all sides of the stretcher frame to allow for a decent handgrip if the painting ever needs to be restretched or moved to another stretcher frame. If not, it will be much more expensive when this time comes. The extra fabric should be coated with glue size on the sides of the stretcher frame, and the rest should be safely secured to the back of the stretcher frame.
4.Has the fabric been stretched in the correct direction? Check the weave of the fabric. Properly stretched paintings will have the fibers running perpendicular and parallel to the stretcher frame. Any diagonal direction in the canvas weave or serious drawing between stretching nails/staples can have drastic consequences for the painting down the road. Make certain it is aligned properly with the stretcher frame. This can be done easily by looking at the back of the painting.
5.Has the support been secured to the stretcher frame properly? You may have to remove the picture frame to be sure, but the fabric should be secured to the stretcher frame using rust-proof nails, screws, staples, etc. These should be spaced no more than one inch apart from each other. If they're spaced more than that, uneven tension will be placed on the painting surface, which can result in draws in the fabric between the nails and damage to the paint layer through time. The most commonly available rust-proof nails available are copper-plated framing tacks made by the Frederix company, which are available in many art supply shops. The average steel staples sold in most stores are not suitable and can eventually damage the fabric and paint layer.
The Stretcher Frame
1.Did the artist use an expandable stretcher frame? A true stretcher frame should have sides which can be expanded by "keying" them out. If the four sides of the frame have simply been glued, stapled or otherwise secured together, creating a fixed frame, this is called a "strainer" and is not a true stretcher frame. Paintings rendered on strainers will cost more money to be transferred to a true stretcher frame when the time comes. It's far better, and safer for the painting, to have the correct frame from the start. Look at the rear of the painting. If the sides of the stretcher frame have been nailed, glued or stapled together at the corners, the frame is unsuitable.
2.Is the frame strong enough? Even small paintings need a stretcher frame that is strong enough to prevent buckling and warping. As a rule of thumb, all paintings should be on frames that are at least a 3/4 inch thick. The larger the painting, the wider that 3/4 inch thick frame needs to be. A medium-sized painting of 36x24 inches may need a frame that is 3/4 inch thick and 3 to 4 inches wide. Paintings larger than that will require more in each direction, plus crossbars for extra support. If the painting has crossbars, make sure that they are expandable as well. Chances are, if the frame doesn't look sturdy, it probably isn't, which means it will have to be replaced. Replacing it will cost money, take time, and is potentially dangerous to the painting. Many art supply stores sell two varieties of stretcher bars. Thinner, weaker bars suitable for small paintings (under about 25 inches), and thicker bars suitable for large works. Generally speaking, paintings over 3-4 feet on their longest side should have a crossbar.
3.What kind of wood has been used? All stretcher frames should be made of wood. The wood used should not be potentially harmful to the painting. Since the painting is constantly in contact with the wood, the wood should not be sappy or acidic. Generally speaking, most stretcher bars found in art shops are suitable. Using wood with acidic properties is another potential risk run by artists who choose to make their own strainer frames with the interest of saving a few dollars. But those few dollars saved by the artist could result in hundreds of dollars of costly restoration for an unsuspecting patron.
4.Is the stretcher assembled well? Make sure the stretcher doesn't have any rough or uneven edges. The joints should be perfectly aligned so that none of the sides are higher or lower than the others. They should also be straight, so that they don't bow up, down, or sideways, creating an uneven frame. The corners of the stretcher frame should not be secured in place with any glue, nails, or screws. Any of these traits may lead to abrasion and uneven tension on the painting, which can be very harmful.
The Picture Frame
1.Is the painting fitted to be hung correctly? Make sure that the attachements used to hang the painting (wire and screws, or similar hanging devices) are connected to the picture frame and not to the stretcher frame. When a painting is hung solely by its stretcher frame --this usually happens when no picture frame is used at all, or when cheap, thin wooden slats have been attached directly to the stretcher to create a makeshift picture frame--the entire weight of the painting is placed on the stretcher, which may cause it to warp and exert uneven tension on the painting surface. This is why it's so important to hang a painting in a picture frame, which can support the weight of the painting without risk.
2.Has the painting been correctly inserted in the frame? The surface of the painting should not make contact with the picture frame. Aluminum strip molding should be screwed to the sides of the stretcher frame and project above the surface of the painting just enough that the picture frame will rest against the strip molding and not the picture itself. Otherwise, the frame could leave permanent abrasions on the surface.
3.Has enough space been left to allow expansion of the stretcher frame? Paintings will eventually need to be expanded to make up for changes in the surface tension of the painting. If the picture frame is too tight, this will be impossible and a new, larger picture frame will have to be purchased. Make sure there is at least 1/4-1/2 inch of space on all sides of the stretcher frame. Balsa wood shims can be used to support the stretcher frame within this gap.
4.Is the picture frame constructed well? Like the stretcher frame, the picture frame should be put together so that there are no rough or uneven edges, protruding screws, excess glue, etc. There should definitely not be any nails used in construction of the picture frame. If hanging wire has been used, make sure the excess wire is trimmed well and secured, not hanging loosely where it might poke the back of the painting.
5.Is the painting safe within its frame? While on display, a picture frame should not have anything covering the back or front of the fabric. This can trap moisture inside the frame and prevent the proper "breathing" of the fabric. If glass or plexiglass is to be used to protect the painting, it should not touch the surface of the painting and should have allowances made for air to move in and out freely. When shipping or moving a painting, strong protective backing should always be applied to prevent puncture or damage. This should be removed prior to storage or display however.
