Conservation Case Studies
Read about the restoration of key AGO artworks and our conservators' research and findings.
Curatorial intern Cat Lachowskyj shares her recent findings made during her work in the AGO Photography Collection.
For Tom Thomson's 139th birthday, we're sharing details on how we conserved his "West Wind."
Preparing Pierre Huyghe’s “Untilled (Liegender Frauenakt)” — a statue that contains live beehive — for display during Luminato Festival 2016.
Conservator Sherry Phillips shares the behind-the-scenes stories of getting artwork out of the vaults and ready for gallery display.
How we got John Scott’s 3,300lb. doomsday vehicle ready for its debut at the Art Gallery of Hamilton.
Learn about research into prayer beads and miniature devotional altarpieces and their construction in this article for CODART by Alexandra Suda, Associate Curator of European Art, and Lisa Ellis, Conservator of Sculpture and Decorative Arts.
Read about techniques our conservators have used to look inside these miniature marvels and better understand their construction.
As a Samuel H. Kress Fellow in Conservation, Thomas’s work focuses on the conservation of Ross R. Scott and Donald R. Muller’s remarkable donation to the AGO: more than 75 posters, prints and drawings by Henri de Toulouse-Lautrec and artists in his circle. Get a closer look at these incredible works on paper.
Learn what an AGO conservation intern discovered while working on Landscape with Figures, a painting that appeared in the Gallery’s very first exhibition.
George Reid painted "Landscape With Stream" as a wall mural in 1911 for his studio in Toronto’s Wychwood Park. When this painting came to the AGO, it was not only dirty but also very fragile. Read on to learn how it was repaired and conserved for future enjoyment.
The Art Gallery of Ontario recently carried out a major restoration project on George Berthon’s Portrait of William Henry Boulton (1846). This exhibition reveals the conservation process required to restore the painting and, in so doing, explores an aspect of museum work that is rarely made public.
Conservation of fine art can be much more rigorous than often expected. Conservators must be highly skilled in fine art techniques to be able to match the delicate brushstrokes of an 18th-century landscape, and they must also be inquisitive scientists, aware of any chemical reactions that may occur as they mix solvents, and monitor the gallery’s environment.