Application of an isolating layer may improve reversibility, as may using as thin and non-penetrating a layer of media as possible. Exercising restraint is essential due to the inherently intractable and relatively non-reversible nature of compensation on paper. For example, pastel pigments can become permanently embedded in paper fibers watercolors can be absorbed easily by soft-sized papers coated papers may not withstand the manipulation necessary to remove dry or wet inpainting materials without harming the surface etc. Inpainting on an original surface, therefore may become a permanent part of its structure. Few, if any inpainting materials are completely reversible, especially since many inpainting media become increasingly insoluble with time. such compensation should be reversible.” On original artifacts, every effort should be made to inpaint in a reversible manner, recognizing that this is not always possible given the relatively simple structure of works of art on paper. Issue of reversibility: The new draft of the AIC Code of Ethics states under Compensation for Loss (#23) that “.Some conservators consider inpainting not to be a genuine and necessary component of conservation and that it is even a questionable aspect of restoration since the line between reconstruction and forgery or deception can be very ambiguous.It is important that the conservator inform the custodian or owner of the limitations and possible consequences of inpainting as well as the potential for aesthetic improvement. The decision to inpaint is made in consultation with the curator, custodian, owner, dealer, or artist/ creator.4 Stability (Lightfastness) Rating of Some Commonly Used Pigmentsįactors to Consider Įthical Considerations.3.11 Tips for Reducing or Covering Stains.3.10 Tips for Reproducing Certain Colors or Media.3.6 Mechanical Alteration of Inpainted Surface.3.2 Application of Isolating Layer or Size.
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