An original oil painting becomes part of the room it inhabits. You notice it differently in the morning, return to a detail you missed, or find that a familiar expression has changed with your mood. Caring for it begins with the decisions around it: where it hangs, how it is lit and what happens when it needs to move.
This guide brings together practical advice from painting-conservation specialists. The right treatment for a particular work depends on its materials and condition, so questions about cleaning, damage or alterations belong with a qualified paintings conservator.
Choose the wall with care
Before deciding where an oil painting belongs, spend a little time looking at the room. Does the wall receive heat from a radiator or working fireplace? Is an air-conditioning vent blowing directly towards it? Could someone brush against the surface in a narrow passage?
The Canadian Conservation Institute recommends a fairly stable environment, away from rapid changes in temperature and humidity. It also advises thinking about everyday hazards, including food splashes and water from nearby plants. A painting can have a commanding presence without occupying the most exposed wall in the house. See the Institute’s basic care guidance for paintings.
Let the painting be seen, thoughtfully
Light deserves consideration before a painting is hung. The Canadian Conservation Institute explains that light damage accumulates with exposure and is irreversible. Both the brightness of the light and the time a work spends under it matter.
Keep a painting out of direct sunlight. Blinds or curtains can help reduce daylight exposure. UV-filtering window film addresses ultraviolet radiation, but it does not remove the risk of fading from visible light. A picture lamp also needs careful placement: some fittings can heat the surface beneath them.
There is no single lighting prescription for every oil painting. Materials differ. If a proposed location is exceptionally bright, ask a conservator about the particular work before committing to it. The Institute’s environmental guidelines for paintings explain these distinctions.
Resist the urge to clean the surface
A small mark can be surprisingly tempting. Leave it for assessment. Household cleaners, water, solvents and commercial picture-restoring products are not suitable experiments for a painted surface.
Even dusting can remove tiny flakes of paint that are difficult to see. The Canadian Conservation Institute warns against using dust cloths, stiff brushes, feather dusters, vacuums or compressed air on paintings. A surface that appears firm is not necessarily ready to tolerate contact.
If dust, a stain or a change in appearance concerns you, consult a qualified paintings conservator before attempting to remove it. Recently painted work can also remain sensitive while its paint layers cure. Read the Institute’s precautions on cleaning paintings before doing anything to the surface.
Consider the frame and the next move
A frame is part of a painting’s presentation, and it can also provide protection. The British Association of Paintings Conservator-Restorers recommends checking that the work is secure and that its hanging fittings are sound and strong enough for its weight. Glazing and a backboard may offer further protection when properly fitted. Glass must remain clear of the painted surface.
Before a move, plan the route and have enough help. Wrapping and transport need to suit the work’s materials, condition and journey. Ask a professional art handler or conservator rather than assuming the packing used for furniture will suit a painting. The Association’s painting-care advice covers framing, inspection and handling.
Keep the work’s details together
Keep the invoice, title, artist’s name, dimensions, medium and any care information supplied with the painting in one place. Save photographs as part of that record. When you need advice, being able to identify the particular work makes the conversation more useful.
Begin with the painting
Jo Li’s hand-painted originals include The Prime Minister, a 40 × 40 inch oil on canvas, and The Alchemist, a 36 × 48 inch oil on canvas. Each has its own presence and its own place in the alternate world of the work.
For questions about a particular painting’s framing or delivery, enquire with its title and your location. If you are still deciding, read Choosing an Original Oil Painting: Presence, Scale and Detail.