Workshop: Modern Lining Techniques

Today marked the end of an enthralling 2-day journey into the world of art conservation at Marie-Noëlle Laurent-Miri's workshop, hosted at the Ateliergebouw (Rijksmuseum) in Amsterdam. The atmosphere buzzed with anticipation as we delved into the early 1960s, where a wave of change swept through the conservation community. The focus? Stability, reversibility, and material compatibility – the trifecta shaping the preservation landscape.

Over the course, Marie-Noëlle unfolded the canvas of our learning, unravelling the impact of traditional treatments on canvas-supported paintings. We pondered alternative materials and techniques, venturing into uncharted territories of mechanical stability and environmental reactivity.

Day 1:

On the morning of day 1 was a deep dive into the theoretical realm. Definitions and rationales danced in the air, laying the foundation for our understanding of lining – the mechanical ballet behind preserving art's heartbeat. We explored the vast palette of materials: canvases, non-wovens, acrylic resins, Beva 371® – each playing a unique role in the canvas symphony.

Hands-on experience unfolded today – a canvas choreography of sorts. We immersed ourselves in tests, experiments, and practical sessions. From testing lining fabrics for wettability to experimenting with adhesives, the studio became our artistic playground.

Day 2:

Preparation of substrates became a dance of stretching fabrics, preparing non-wovens, and optimizing the original support. With brushes and rollers in hand, we applied techniques through screens, brushes, and rollers, turning theory into a tactile masterpiece.

As the workshop neared its end, insights blossomed. Local reinforcements, substrate selections based on pre-tests, shear and peel tests – every session held a revelation. Marie-Noëlle's final remarks left us with a newfound appreciation for modern lining techniques.

Covering the lined area with Melinex

Ironing BEVA 371 film in preparation for a strip lining