From Restorer to Conservator
The exhibition dedicated to the 50th anniversary of the Department of Conservation of the Art Museum of Estonia sheds light on the craft of conservators, as exemplified by seminal works from 20th-century Estonian art.
The 50-year history of the department is not just a list of completed works. It is much broader than that, including people, work methods and circumstances that have shaped both time and flexibility. Every decision made, method used and solution created has been part of the process that determines the value and durability of a work of art.
Alar Nurkse, Conservator of Paintings, Art Museum of Estonia
Gallery
Works by artists from the previous century have been on the tables of conservators ever since the department was established. Modern sculptures and paintings present complex challenges to conservators because the materials used in modern times have proven to be less resilient than those used by old masters centuries ago.
This exhibition focuses on works of art on paper, which is a delicate and fragile base material. Various techniques have been used to create art on paper: the display includes examples of different graphic art techniques, charcoal, Indian ink and pencil drawings, pastels and watercolours, and gouache, tempera and oil paintings.
Several chemical and physical changes take place in the structure of cellulose as paper ages. Paper is jeopardised by fluctuations in humidity and temperature and by unsuitable light levels. Light causes paper to become fragile and yellow, and texts and colours may fade. Making informed decisions regarding the conservation, preservation and display of works on paper requires thorough knowledge not merely of the qualities of paper, but of the pigments, binders and solvents used.
The raw material and manufacturing methods of rag paper made it durable and resilient to external influences. The 19th century brought technological innovations to the production of paper: the utilisation of wood pulp and an adhesive containing rosin. As a result, production became easier, but the resilience of paper decreased considerably. Paper manufactured around that time is acidic, and tends to yellow and crumble easily. It is therefore categorised as a material at the highest risk of degradation. The quality of paper began to improve again in the 1950s.
Works are displayed at this exhibition in a manner that invites viewers to notice their structure, materials, techniques, lifespan and conservation history. Visitors have the opportunity to observe how conservators work and solve problems, and to find out how restoration developed into contemporary conservation. Every work on display is special in one way or another from the point of view of its artistic qualities or technique, which is why people working in the Department of Conservation of the Art Museum of Estonia have had to develop and apply innovative conservation methods.
Gallery
The Department of Conservation of the Art Museum of Estonia is celebrating its 50th anniversary with meaningful and diverse exhibitions in three locations: the Adamson-Eric Museum, the Niguliste Museum and the Kadriorg Art Museum. From April to September, the Niguliste Museum will display the conservation stories of works in its permanent exhibition, while the Niguliste Tower will present challenges related to the conservation of contemporary art. During the same period, the Kadriorg Art Museum will dedicate an exhibition to the conservation of primarily older paintings.
Curators: Kärt Lend, Margit Pajupuu, Isabel Aaso-Zahradnikova, Kersti Koll
Exhibition design: Isabel Aaso-Zahradnikova
Graphic design: Inga Heamägi
Educational programmes: Maris Paal
Installation manager: Andres Amos
Exhibition team: Liis-Marel Aak, Richard Adang, Sirje Alter, Darja Andrejeva, Ingvar Toomas Heamägi, Ivar-Kristjan Hein, Liisa Kaljula, Aili Maasik, Marit Must, Alar Nurkse, Grete Ots, Kristina Papstel, Villu Plink, Tiina Randus, Renita Raudsepp, Mihhail Staško, Sirje Säär, Laura Tahk, Elnara Taidre, Allan Talu, Terje Tammearu, Eva Tammekivi, Uve Untera, Madli Valk, Karin Vicente
