The purpose of restoring and conserving a piece of art is to stop the degradation process, to recover its aesthetic qualities and to increase its market value.
"The material of the work is of a special nature, where it is necessary to distinguish the structure and the appearance... Open to an eternal present without escaping time, the work of art is an object of a paradoxical nature." George Brunel - "Introduction of restoration theory" by Cesare Brandi
Technical and Scientific Analysis of the Works
In order to establish the Condition Report prior to any restoration treatment of paintings, the Atelier du Temps Passé uses various means of observation (direct white light, tangential light, transmitted light, microscopy, ultraviolet, infra-red, radiographs) and identification (physicochemical tests: resistance of the constituent materials, analysis of textile fibres, identification of pigments and resinous materials etc.).
In partnership with the Laboratoire d' Archéologie Moléculaire et Structurale de Paris II, the study of a work in hyperspectral X-rays can be proposed as part of said research.
Restoration of Paintings and Authentication of Works by Materials
The results obtained can then be compared with to the work, its natural or accidental state of conservation, and its patina are used in order to verify the authenticity of the work to be restored.
L' Atelier du Temps Passé applies the fundamental rules of Restoration and Conservation of Cultural Heritage
• Stability: the materials used in the various treatments and interventions comply with specifications specific to the Restoration and Conservation of cultural property.
• Reversibility: the materials brought in for Restoration and Conservation are always more fragile than the original materials so that they can be removed at any time without any material damage to the work.
• Readability: the work must be able to meet certain criteria for observation and overall reading satisfactory according to its initial aesthetic or utilitarian qualities.