Cleveland Museum of Art · CC0 1.0Observing before concluding
The examination is the heart of the report. It consists in looking at a work as nobody ever looks at it: up close, under several lights, with instruments that show what the eye cannot see.
It takes place on a fixed day, in a suitable place, in the presence of the owner or their representative if they wish. Nothing is done without agreement: no sampling, no cleaning, no removal of a frame without written authorisation.
The results of the examination feed the survey by zone, the recommendations and the overall condition grade.
The examination in figures
The course of an examination
- Welcome and agreement
Presentation of the protocol and signature of the examination authorisation.
- Observation with the naked eye
Overall view, composition, general condition of the support and the surface.
- Close observation
Binocular magnifier, portable microscope, raking light.
- Imaging
Ultraviolet, infrared, radiography for hidden parts.
- Measurements
Humidity, flatness, dimensions, weight.
- Documentation
Reference photographs and field notes.
The observation techniques
| Technology | What it reveals |
|---|---|
| Raking light | Reliefs, lifting, deformations of the support |
| Ultraviolet fluorescence | Varnishes, retouching, old restorations |
| Infrared reflectography | Underdrawing, pentimenti |
| X-radiography | Internal structure, nails, cracks in the support |
| Macrophotography | Craquelure, wear, pigments |
| 3D survey | Deformations, volumes, complex sculptures |
Conditions of the examination
The survey by zone
The work is divided into numbered zones (corners, centre, edges, back). For each zone, the conservator records the alterations observed: craquelure, lifting, losses, retouching, stains, deformations.
Each alteration is located on a diagram, photographed and graded: stable, evolving or critical. This grading guides the recommendations.
Categories of alterations
| Alteration | Example | Usual seriousness |
|---|---|---|
| Craquelure | Network of cracks in the paint layer | Low to medium |
| Lifting | Flakes ready to detach | High |
| Losses | Missing paint matter | Medium to high |
| Soiling | Veil of dust or smoke | Low |
| Deformation of the support | Warping, distortion | Medium |
| Biological attack | Mould, insects | High |
Examination on site or in the workshop
On site
At the owner's or at the museum- No transport
- Sometimes constrained conditions
- Portable equipment
For fragile or large works.
In the workshop
In a partner laboratory- Full equipment
- Controlled conditions
- Insured transport necessary
For an in-depth examination.
Case study: invisible retouching
What ultraviolet reveals
A 19th-century landscape looks intact to the naked eye.
- Examination under ultraviolet reveals extensive retouching in the sky.
- Radiography confirms an old relining.
- The survey classes the work “good”, with old restorations documented.
The restorations are mentioned in the certificate of authenticity and the work passport.
To prepare for the examination
A principle of caution
« Look for a long time, touch little. »
Vocabulary of the examination
- Raking light
- Lighting almost parallel to the surface that reveals reliefs.
- Relining
- Lining of an old canvas.
- Pentimento
- Change made by the artist during execution.
- UV fluorescence
- Reaction of materials lit by ultraviolet.
Frequently asked questions
Does the examination damage the work?
No. The techniques used are non-invasive; a sample is taken only with written agreement.
Can I attend the examination?
Yes, it is even recommended.
How long does an examination last?
From two to six hours depending on the size and complexity of the work.
Can a work be examined under glass?
It is preferable to remove it; otherwise the examination is limited.
Contacts
Related pages
RestorationRestoration recommendations, levels of intervention, choice of restorer and monitoring of works.›
Scientific imagingInfrared reflectography, ultraviolet fluorescence, X-radiography, macrophotography and 3D survey: seeing below the surface without touching the work.›
Insurance valueHow a conservation report is used to set, justify and update the insured value of a work.›
See the recommended restorations
Image credits (16)
- Study of Hands (recto); Sketch of a Hand (verso), Pierre Lenfant (1700s) — Cleveland Museum of Art, CC0 1.0
- Leaf from a Psalter and Prayerbook: Calendar Page with Labors (recto) (c. 1524) — Cleveland Museum of Art, CC0 1.0
- Portrait of Jean-Baptiste Lemoyne the Younger, Elisabeth Louise Vigée-LeBrun (1774) — Cleveland Museum of Art, CC0 1.0
- Sports on a Frozen River, Aert van der Neer (ca. 1660) — The Metropolitan Museum of Art, CC0 1.0
- Covered Hot Water Pot, Feodor Ivanovich Rückert (1887–96) — Cleveland Museum of Art, CC0 1.0
- Fragment of a Border with Standing and Seated Birds Amidst Vegetation (1500s) — Cleveland Museum of Art, CC0 1.0
- Miniature Teapot, Mikhail Evlampievich Perkhin (1886–96) — Cleveland Museum of Art, CC0 1.0
- Adoration of the Shepherds, Bernardo Cavallino (c. 1650) — Cleveland Museum of Art, CC0 1.0
- Centerpiece, Eugène Rousseau (c. 1880) — Cleveland Museum of Art, CC0 1.0
- Compass and Sun Dial (1700–1750) — Cleveland Museum of Art, CC0 1.0
- Fragment of a belt (hizam) (1800s) — Cleveland Museum of Art, CC0 1.0
- Capriccio: A Palace with a Courtyard by the Lagoon, Antonio Canaletto (c. 1750–55) — Cleveland Museum of Art, CC0 1.0
- Self-Portrait with Five Muses, Henry Church (c. 1880) — Cleveland Museum of Art, CC0 1.0
- Flowers and Trees of the Four Seasons, Watanabe Shikō (early-mid 1700s) — Cleveland Museum of Art, CC0 1.0
- Portrait of Pope Paul II Barbo (obverse) and (reverse), Cristoforo di Geremia (c. 1468) — Cleveland Museum of Art, CC0 1.0
- Portrait of Isabella Brant, Peter Paul Rubens (c. 1620–25) — Cleveland Museum of Art, CC0 1.0