We already stated that in 1972 (when we talked about our personal system of retouch for the first time developed on the Fontainebleau school painting Gabrielle d’Estrée and her sister) if the marks of the time was ineluctable concerning their conservation, the scientific progress wasn’t ineluctable and nowadays, thanks to the numerical camera that we show, the progress can manifests itself with brightness. The specificity of the I.A.C.C and Tranter-Sinni Fine Art Forensics until now is the way to consider the activity of restorer like a process of creation between the artist and the artisan, the multitude of precise or inspired movements, always controlled, ameliorated or improved. But these repeated acts are valuable only if they are directed by a creative thinking doubled by a scientific knowledge to find a remedy for the damaged paintings with the maximum of security and efficacy.
We have always believed that for this difficult activity which combines these two people, the artist and the artisan which vouch for a great patrimony, it was necessary to elaborate a method.
Why do we need to restore?
Restoration will stay essential to permit the recovery of the possibility of a dial between the original work of art and it admirer. It’s for this reason that the restoration of the damaged work of art must be done with subtle, sensitive, intelligent and thoughtful intervention means knowing that a mediocre work of art can’t expect an improvement of a restoration even elaborated.
We should never forget a fundamental principle: if the painter, during the choice of his technical, would know the low of the maturing process of the used materials, he wasn’t able to consider his work of art as finished the day during he put down his brushes. He was necessary aware of the physic-chemical transformation, the drying evolution and the patina of age. It’s consequently an “evolved” original, we have to be aware of it and respect it.
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