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European Old Master drawings on paper are especially vulnerable due to age, condition issues, and damage accumulated over centuries. The process includes visual inspection, ultraviolet and microscopic assessment, ink solubility testing to prevent bleeding, vacuum table treatment, and carefully controlled application of solutions to reduce foxing and tidelines, followed by tear mending with Japanese tissue and starch 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are Old Master drawings on paper particularly vulnerable?","Question",{"text":112,"@type":113},"They are made on paper and are hundreds of years old, so they develop distinct condition problems that require individual assessment.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"What does the conservator do before treatment to ensure the ink is safe?",{"text":117,"@type":113},"The conservator tests the ink’s solubility to ensure it won’t bleed during treatment.",{"name":119,"@type":110,"acceptedAnswer":120},"How are tears repaired in the described process?",{"text":121,"@type":113},"The conservator mends tears using Japanese tissue and wheat starch paste, then allows it to set under blotters and weights.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},154473,1787893846,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":39,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":14,"language":139,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":67,"update_tm":129,"read_time":24,"preview_page_count":4},7971461740886,"https://ap-avatar.wpscdn.com/davatar_3d24733baf745e90a7e4bdd5f77d97b2","Conserving Old Master drawings: a balancing act  \n1 A fundamental role of a museum is to care for its collection and preserve it for future generations.  \n2 European drawings from the 1300s to the late 1800s, or Old Master drawings, are particularly vulnerable.  \n3 They’re on paper and hundreds of years old.  \n4 Conserving an Old Master drawing is a balancing act.  \n5 All drawings have their own set of condition issues that need to be assessed individually.  \n6 Here, a Getty conservator carefully examines a 500-year-old German drawing.  \n7 She first removes the drawing from its mount, or support.  \n8 She inspects the drawing, lit from below.  \n9 This makes it easier to see the marks left by the wires of the paper mold, stains, a watermark, a tear, with a darkened area that shows where it had been previously repaired,  \n10 and, at the corner, the shadow of a piece of paper that had been used to attach the drawing to a mount.  \n11 Next she examines the drawing under ultraviolet light.  \n12 The brown spots are called foxing.  \n13 These are marks left by mold.  \n14 Finally, she studies the drawing under a microscope.  \n15 Now the conservator tests the solubility of the ink to ensure it won’t bleed during treatment.  \n16 She places the drawing on a vacuum table, a device that extracts the liquids used in the treatment out of the paper.  \n17 She uses a small brush to apply an ammoniated water solution to reduce the brown foxing.  \n18 This solution subtly releases the color of the foxing, which distracts from the appearance of the drawing.  \n19 She carefully alternates the application of ammoniated water with that of ethanol in order to reduce tidelines, irregular lines or blemishes left behind as the ammoniated water solution dries.  \n20 Wearing magnifying lenses, she examines tears and prepares them for mending and reinforcement.  \n21 She takes a piece of Japanese tissue and carefully applies wheat starch paste to mend the tear.  \n22 Japanese paper has very strong fibers, is chemically neutral, and can easily be identified and removed.  \nConservar dibujos de maestros antiguos: hacer malabarismos  \n1 Un papel fundamental de un museo es cuidar su colección y preservarla para futuras generaciones.  \n2 Los dibujos europeos del siglo XIV hasta finales del XIX , o dibujos de maestros antiguos, son particularmente vulnerables.  \n3 Están en papel y tienen centenares de años de antigüedad.  \n4 Conservar un dibujo de un maestro antiguo es hacer malabarismos.  \n5 Todos los dibujos tienen su propio conjunto de problemas de conservación que han de ser evaluados individualmente.  \n6 Aquí, una conservadora del Getty examina detenidamente un dibujo alemán de 500 años de antigüedad.  \n7 Primero quita el dibujo de su fondo, o soporte.  \n8 Inspecciona el dibujo, iluminado por debajo.  \n9 Esto hace más fácil ver las marcas dejadas por los alambres del molde del papel, manchas, una filigrana, un roto, con una zona oscurecida que muestra dónde había sido reparado anteriormente,  \n10 y, en la esquina, la sombra de un papel que había sido usado para sujetar el dibujo a un fondo.  \n11 Luego examina el dibujo con luz ultravioleta.  \n12 Las manchas marrones se llaman moteado.  \n13 Estas son marcas dejadas por el moho.  \n14 Por ultimo, estudia el dibujo con un microscopio.  \n15 Ahora la conservadora prueba la solubilidad de la tinta para asegurarse de que no se correrá durante el tratamiento.  \n16 Coloca el dibujo en una mesa de vacío, aparato que extrae del papel los líquidos usados en el tratamiento.  \n17 Utiliza un pincel pequeño para aplicar una solución de amoniacolíquido para reducir el moteado marrón.  \n18 Esta solución suelta sutilmente el color del moteado, que distrae del aspecto del dibujo.  \n19 Alterna con cuidado la aplicación de amoniaco líquido con etanol para reducir las marcas de la marea, líneas o manchas irregularesque quedan al secarse la solución de amoniaco líquido.  \n20 Usando lupas, examina los rotos y los prepara para su arreglo y ref","cbCaih3Rm4eOFwU9","https://ap.wps.com/l/cbCaih3Rm4eOFwU9","pdf",82940,"English","# Conserving Old Master drawings\n## Assessing condition and vulnerabilities\n## Examination methods and materials\n## Treatment steps and goals","[{\"question\":\"Why are Old Master drawings on paper particularly vulnerable?\",\"answer\":\"They are made on paper and are hundreds of years old, so they develop distinct condition problems that require individual assessment.\"},{\"question\":\"What does the conservator do before treatment to ensure the ink is safe?\",\"answer\":\"The conservator tests the ink’s solubility to ensure it won’t bleed during treatment.\"},{\"question\":\"How are tears repaired in the described process?\",\"answer\":\"The conservator mends tears using Japanese tissue and wheat starch paste, then allows it to set under blotters and weights.\"}]","Conserving Old Master Drawings - a balancing act | PDF"]