Paintings are objects of beauty, historical importance, and can provide an important link to our past. Paintings may have a great monetary value or have sentimental value to their owners. Over time paintings need special care to keep them looking fresh.

Paintings have layers, all of which have their own concerns. Paint is applied to a support, typically Canvas or wood, which is first primed using a sizing or ground layer. Traditional paintings are finished with a layer of varnish although this practice is not as common in contempary art practice. Paintings with out all the traditional layers may be more susceptible to changes and damage. Paint can be made from a wide range of materials, the color usually comes from natural or synthetic pigments, the pigments are applied by using a binder, some popular binders include, oil, acrylic, wax (encaustic), egg (tempera), glue (distemper), milk, plant gum (gouache) or a mixture of media. Paint can be applied to a varity of supports, most common are canvas, and wood panel, other supports are paper, cardboard, pressed board, artist board, copper, ivory, glass, plaster, and stone. Paintings on canvas are usually stretched over an adjustable wood support called a stretcher.

Over time a painting will change. Some changes are results of age, such as the transparency of oil paint or the appearance of some kinds of cracks, when theses cracks do not threaten the stability of the painting it is usually not considered damage. A very common sign of ageing is darkening or yellowing of the surface due to an accumulation of grime and a yellowing of the varnish. When varnish becomes so discolored that it obscures the painting it needs to be removed. Some evidence of ageing should be expected, but if your painting has structural damage, such as tears, flaking paint, large cracks, lifting edges, or mold consult with a reputable conservator, who can help you decide on the best way to treat these problems.

Maintaining a proper environment for your paintings is important. The components expand and contract in different ways from changes in tempeture and humidity. Many problems paintings encounter can be avoided if the painting is kept in single location with a constant tempeture and level of humidity. Paintings do well in conditions which are comfortable to people with a relative humidity between 40 to 60 percent. Different types of materials have different optimal conditions. Paintings on canvas will often react dramatically to a fluxion in humidity than a painting made of a similar medium but on wood. Paintings on wood over time and exposed to numerous changes in humidity can develop bad problems, including warping, splitting and breaking of the wood. Museums strive to control tempture and humidity levels for works of art, but even with specialized environmental control systems this can be difficult. Gradual seasonal changes in temputure and humidity are typically less harmful than sudden drastic changes. For example a painting that has been stored in what could be called bad conditions, a cold damp castle, may remain fine for centuries but deteriorate rapidly when moved to more museum like conditions simply because of the dramatic change in its environment.

A simple preservation step you can take is having an archival backing board attached to the back of paintings. This will protect the back of the paining from environmental changes, keep dust away from the canvas, and protect against damage when the piece is moved. Be sure the backing board covers the entire rear of the picture and does not have ventilation holes that could allow foreign matter to get through. The backing board should be attached to the back of the stretcher not the frame. When undertaking work of this nature have it done by a reputable framer or conservator.

When displaying a painting one must conceder more things than if it will look nice above the sofa. Direct sunlight can cause fading of some pigments and yellowing of some varnishes. It is best to place a painting on a dividing wall of a building rather than perimeter walls where temputure fluxions and condensation may effect the painting. If a painting is placed on an exterior wall rubber spacers on the back of the frame can help increase airflow to the back of the piece increasing airflow and preventing the threat of condensation which when left unchecked can cause mildew on the piece.

In many rooms the fireplace is a focal point but it may not be the best place to hang your painting. Paintings hung above a fireplace will be exposed to soot and environmental extremes. It is also not a good idea to hang paintings above heating and air conditioner vents, or in bathrooms with tubs or showers due to the extreme environmental fluxions in these places.

When choosing lighting for a painting it is best to choose indirect lighting. Lights that attach to the frame are not always the best choice; these lights can cause a glair on the piece, and cause over heating and uneven lighting. Indirect sunlight, recessed lighting or ceiling mounted spotlights are the best choices.

Paintings are usually safest when hanging on a wall assuming they are well framed, with the hanging hardware and picture well secured. If storing a painting avoid basements and attics which can both have extreme temperatures fluxuations. Paintings should only be moved when necessary. If you must move a painting be sure there is a clear path way to the new location, and the new location is ready for the painting If a painting is wider than your shoulders you should get help with moving it. If a painting is a manageable size to move hold the piece with both hands, with the image side facing you. Remove any jewelry or adornments that may scratch the painting. Hang the painting from picture hooks never nails securely on the wall. If a painting is heavy use more than one picture hook. Before hanging be sure the hardware is secure. On a framed painting hardware should be attached to the frame and not the stretcher. If a picture wire is used attach a double strand of braded wire to the sides of the frame using “D” rings or mirror plates to hold it in place. These hangers are secured to the wooden frame with two or more screws. Hanging can be more difficult with contemporize paintings that do not have protective frames. Moving and hanging large and unframed art works may call for the services of professional art handlers.

When dusting a painting first examine it for any flaking paint or other structural damage if none it visible, it can be dusted. Paintings are best dusted every 4 to 6 months using a very soft brush, never use a feather duster it can scratch the painting. Never try to clean a painting yourself or apply any liquid to a painted surface. Commercial cleaners can cause damage to fragile layers of paint. Avoid using pesticide, foggers, air fresheners, furniture sprays or hair spray near a painting. Remove paintings from a room before paining, plastering or steam cleaning carpets or wallpaper. Return paintings only when surfaces are completely dry.

If a disaster such as a flood or fire should happen to your home, remove paintings from standing water and debris. If paint is flaking lay the painting flat with the image side up to limit loss. Consult a professional conservator as soon as possible for assistance in limiting damage to your artwork. Wiping smoke and mud from a painting can cause additional damage, and should be left to a professional. Other problems that should be dealt with by a professional conservator include, insect infestation, flaking paint, paint loss, torn canvas, cracks with lifting edges, mold growth, varnish discolorations, and dirt and grime are problems best tackled by a professional.