Interview with Ana Bailão

The Art of Conservation and Restoration

Interview with Ana Bailão

by Alexandre Coxo, 20 June 2020

Ana Bailão specialises in the conservation and restoration of easel painting. Her career makes her the ideal person to talk to us about conservation and restoration.

With a degree in Conservation and Restoration from the Polytechnic Institute of Tomar, a master's in Painting Techniques and Conservation and a PhD in the Conservation of Cultural Heritage, specialising in Painting, from the Portuguese Catholic University, she currently lectures at the Faculty of Fine Arts in Lisbon, in the Department of Art and Heritage Sciences.

She began her career working on three Renaissance paintings from the Charola of the Convent of Christ in Tomar. Since 2004 she has carried out conservation and restoration work on old and contemporary works for the State and private clients.  

In this interview I had the privilege of learning more about her career and the challenges conservator-restorers face.

What led you to a career in conservation and restoration?
I chose this profession because of my love of art and because I wanted to combine enjoying objects with safeguarding them.

How long have you worked in conservation and restoration? Is there an area your work focuses on most?
I finished my degree in conservation and restoration in 2005, at the Polytechnic Institute of Tomar. Since then I have always worked in the field, specialising in easel painting. In 2006 I started a master's in Painting Conservation Techniques at the Portuguese Catholic University, where I studied in depth one of the conservation and restoration treatments, known as chromatic reintegration (the procedure that restores colour to areas of loss). In 2010, during my PhD in the Conservation of Cultural Heritage at the same institution, I continued the studies I had begun in the master's. So, as well as focusing on the conservation and restoration of paintings, I like researching topics related to chromatic reintegration, such as binders, pigments and varnishes, among others.

How should the general public understand the work of a conservator-restorer?
Conservation and restoration is not well known. People do not realise that to be a conservator-restorer in Portugal you need five years of higher education in conservation and restoration, plus five years of professional experience, or that anyone working for the State or on classified heritage, or heritage being classified, must meet this requirement. There is specific legislation for the profession (Decree-Law 140/2009).

The conservation and restoration professional is responsible for preserving cultural heritage. To do so they need multidisciplinary training: artistic, technical and scientific. Fields such as history, chemistry, physics, biology and materials engineering, among others, play an important role.

For all these reasons, the conservator-restorer's profession is distinct from artistic or craft professions. It is also important to stress that conservator-restorers do not create new cultural objects; they only preserve them, respecting their authenticity and originality.

Do you feel conservation and restoration has gained more respect from the general public?
Conservation and restoration is a recent field. The first degree courses appeared in 1989. Gradually, as more professionals graduate and do PhDs, the profession is gaining more respect and impact.

As for the general public, I have had good feedback. People think it is a beautiful profession and are curious about what I do, although they do not understand exactly what it involves, or the limits of intervention I follow (Code of Professional Ethics).

What is the oldest piece you have worked on? And what challenges did you face?
It was actually a group of works. I had the privilege of working on three of the Renaissance paintings in the Charola of the Convent of Christ, at the invitation of the conservator-restorer Frederico Henriques, who was in charge of the project. They are oil paintings on oak panels, each about 4 metres high and 2.5 metres wide, painted in the early 16th century. To carry out the work, which lasted two years, I had to live in the Convent of Christ. It was a unique experience. The size of the works, their weight, the scale of the images and the treatments carried out to solve the deterioration problems, some of them innovative at the time (2004-2006), were also a challenge.

When restoring colour to lost areas of a piece, what concerns do you have in choosing the materials you add? What kinds of paint do you use? Does quality matter? Should the materials added be reversible or permanent? Why?
Restoring colour to areas of loss is called chromatic reintegration. Like every other procedure in conservation and restoration, it is concerned with the long-term stability and removability of the materials. The materials chosen must be compatible with the work, but not identical to it. This matters because, if they ever need to be removed, we do not dissolve the original work or cause damage. Various materials are used, chosen according to the type of work, its condition and where it will be displayed or stored, among other variables.

We try to use scientifically studied materials that have given good results in similar situations and offer guarantees of long-term stability. Conservator-restorers commonly use laboratory techniques to analyse and understand how materials behave, both those the works are made of and those used in conservation and restoration, and how they interact. 

Whatever material is chosen, it must be reversible/removable. This criterion has two reasons. One is that the work is the most precious thing in any treatment: any added material must serve to preserve and conserve the object, not to replace or alter it. The other relates to the natural ageing of materials. All materials age, both the work's and those added by the conservator-restorer, but they have different ages and compositions and therefore different ageing times and behaviour. It is normal for some added materials to need replacing, which is why they should be reversible.

Does it make sense to use lower-quality or less durable materials to treat a piece made of higher-quality, more durable materials, or vice versa?
No. Whatever the material quality of the work, the conservator-restorer must always use the best-quality materials and products.

"to be a conservator-restorer in Portugal you need five years of higher education in conservation and restoration, plus five years of professional experience."

Ana Bailão working on a painting by José Malhoa while preparing works for the exhibition "Reviver Malhoa entre Amigos", in 2018. Photograph courtesy of Ana Bailão.

The conservation of monuments, and of the works associated with them, is reported in the media as a frequent operation for which demand is growing. Is working on works by contemporary artists equally frequent?
Yes, it is also frequent. The use of mixed techniques and experimenting with materials in the same work affects the way works deteriorate. Inadequate handling and storage also cause composite works to deteriorate quickly. In contemporary painting, for example, there is often damage around the edges for one simple reason: no frame and inadequate handling. Stains and fingerprints, which are oily in nature, are hard to remove and unsightly, and lead many owners to seek out a conservator-restorer for a solution. Losses at the edges are also common, as well as small tears and mould.  

Have you done conservation and restoration work on contemporary works? What are the similarities and differences between treating an old work of art and a work by a contemporary artist?
Yes, I have worked on contemporary works. If we are talking about more conventional works, made with traditional paints (oil, acrylic, alkyds, watercolour, among others) and no other materials added, the main difference lies in the age of the materials the works are made of. To put it simply, if we think of an old oil painting from the 16th, 17th, 18th or even 19th century, its binder has already polymerised, which means it is harder and insoluble. The oil in a painting from the second half of the 20th century or the 21st century has not aged in the same way, so it will be more sensitive to many of the materials we use when treating old paintings.

How important are the quality of materials and procedures in producing a work of art? How can this affect its durability?
The quality and the way these materials are applied are decisive. Works made with unstable materials, or unstable combinations of materials, will degrade regardless of the artistic intention. The way the work is physically made leads to rapid degradation and, on some occasions, against the artist's original wishes.

How important is the artist's documentation to the conservator-restorer's work?
Documentation is extremely important. Although interviews are now common practice during the diagnosis stage to get to know the work better, artists do not always remember everything they did, used and how they did it. Having a record can help decide which treatments to carry out and which materials to use.

In painting, what are the most decisive factors for its preservation?
Several factors play a part. The type of canvas, for example: the more open the weave, the less contact area the upper layers have, which can lead to flaking and consequently losses. If the choice is wood-based boards (hardboard, particleboard, medium-density fibreboard (MDF)), other types of damage can occur, such as warping and chipped corners. MDF is not a good choice because of how it is made: formaldehyde resin is used to bind the wood fibres. The release of formaldehyde gas as the board ages is not only toxic, contaminating the air we breathe, but also reacts chemically with pigments and binders.

The choice of binder also matters, as do the pigments. For example, a paint layer made with linseed oil has strength, flexibility, cohesion and elasticity superior to one made with walnut or poppy oil. However, linseed oil yellows more than the other two. Some pigments also interact, for example phthalocyanine blues (which contain copper) and cadmiums. But as with everything, there are advantages and disadvantages, and a balance is needed.  

Which binder is the most durable? Why?
I cannot say one is more durable than another. I can point out characteristics, advantages and disadvantages. In the previous answer I gave the example of oil. With acrylics, the advantages are that they are water-based and dry quickly, and they can be used with oil, as long as the oil is applied as the last layer and not the first, respecting drying times.

How do you choose lightfast pigments?
Purchasing should be controlled and the materials bought should be certified. Several brands sell pigments: Sennelier, Schmincke, Kremer Pigmente, among others. On its website each of these suppliers gives the technical data sheet for its pigments. You should choose those with excellent lightfastness or colour permanence. This information is usually on the label; if not, it should be on the website. If it is not clear, it is better not to buy the product. Another way to find out which pigment is in a given paint is to look for the Colour Index Name, shown by the abbreviation for Pigment + colour description, for example Pigment Blue = PB, followed by the number identifying the pigment: PB 29 = Ultramarine Blue. If PB 29 is on the label of a watercolour, gouache, acrylic, oil, etc., you can see what it is on the Color of Art Pigment Database website available here:
http://www.artiscreation.com/Color_index_names.html#.XsZx8URKjIU

Is it important to protect a painting with varnish? Why?
Varnish can be seen as a protective film against external agents. It can filter UV rays, which help fade colours, and protect against dirt and dust settling on the surface of the paint layer. It is important to choose the right type of varnish to avoid dissolving the paint layer if it ever needs to be removed. It is equally important that the paint layer is completely dry before varnishing.

What advice would you give a painter to ensure their works last as long as possible?
My advice is to use certified, professional-grade materials with a proven track record of durability, and to follow sound painting technique, both in choosing the support and the painting technique, paying special attention to the "fat over lean" rule. Packing and transporting works are also critical moments when a lot of damage occurs, so investing in protecting works is also a priority. Going beyond this would be interfering in the creative process, and that should not happen. 

"You should choose (pigments) with excellent lightfastness or colour permanence."

In the image: powdered pigments and reintegration binders. Photograph courtesy of Ana Bailão.

For someone who has bought a work by a contemporary artist, how should they care for it to best conserve it?
Know the materials it is made of and keep works in stable spaces, without significant swings in temperature and humidity, because these can lead to mould. Avoid direct outdoor light falling on the works; this reduces the effect of UV rays on the pigments, which causes fading. Also pay attention to the type of light bulbs used indoors.

And for someone wanting to buy a work by a contemporary artist, what should they do to protect themselves as regards durability?
Check whether the work is made with unstable materials or an unstable combination of materials, and seek advice from a conservator-restorer.

How can people find a conservator-restorer? What can they ask to protect themselves and be confident they are dealing with a qualified person?
They should contact a reputable institution that has a conservator-restorer: museums, or higher education institutions offering conservation and restoration courses. There is also the José de Figueiredo Institute, a conservation and restoration laboratory, which you can learn more about in this report from Visita Guiada (https://www.rtp.pt/play/p5656/e434436/visita-guiada). There is also a Professional Association of Conservator-Restorers. In Portugal, a conservator-restorer must have 5 years of higher education (degree + master's) and 5 years of professional experience. That is one of the criteria to bear in mind. Then try to learn about their professional career over those 5 years, and whether they specialise in the kind of objects in question. If not, as a rule another professional is recommended.

Finally, out of curiosity: can conservator-restorers be consulted to help tell a fake from an original? Can you give an example? Have you ever been involved in an expert appraisal?
Yes. Technical and material knowledge of objects, experience in observation and the use of laboratory techniques can help confirm or rule out a work's authenticity. I have done it, for an old painting (which was not so old after all) and for a contemporary painting.

It was a great pleasure to interview Ana Bailão, and I thank her very much for this opportunity.

You can follow her work on the Heritage Projects website:  http://heritageprojects.pt/

Her doctoral thesis - "Critérios De Intervenção E Estratégias Para A Avaliação Da Qualidade Da Reintegração Cromática Em Pintura" (Intervention Criteria and Strategies for Assessing the Quality of Chromatic Reintegration in Painting), Catholic University, 2015 - is available at: https://repositorio.ucp.pt/handle/10400.14/20111

Ana coordinates the biennial "Ibero-American Congress of Research in Heritage Conservation". You can access it via the link:
http://www.belasartes.ulisboa.pt/lll-congresso-ibero-americano-investigacoes-em-conservacao-do-patrimonio-lcp/  

She is also the founder of the international chromatic reintegration group, RECH Group, which organises events and workshops in Europe on the chromatic reintegration of cultural heritage. For more information see the link: http://rechgroup.pt/