AIC's 43rd Annual Meeting

This paper will give an overview of the versatile uses of airbrush in modern and contemporary paintings conservation. In modern and contemporary art a pristine surface character is often crucial to the readability and impression of the work of art. Furthermore, a flawless paint layer or sheen often reflects the artist’s intention and thus has to be preserved by the conservator. When it comes to inpainting larger areas of loss in monochrome surfaces of modern and contemporary art, conservators often struggle with traditional retouching methods. The same can be said for scuffs, burnishes or other alterations in the sheen of a work of art. In both cases the airbrush can be a very valuable conservation tool. The main advantage of using an airbrush versus the traditional paint brush is its ability to produce a very thin localized monochromatic paint or varnish layer without leaving any brush marks or other texture. This paper will introduce the airbrush as a tool for inpainting on monochromatic works of art, but it will also suggest its use to adjust alterations in sheen or for subtle consolidation of under-bound paint layers. Technical information on the airbrush tool itself will be given including the introduction of a specific model that is considered standard for conservation purposes. Requirements for paints and media when used with an airbrush will be discussed and the versatile use of the airbrush will thus be further emphasized. In addition, the problem of overspray will be addressed as will different masking options, which protect the original paint layer while airbrushing. In conclusion, the advantages and disadvantages of using an airbrush versus working with a traditional brush will be discussed. Several case studies where the airbrush was used successfully to adjust the sheen of a paint layer, as an inpainting tool and as a tool to apply a consolidation medium will be presented.