assive conservation of paintings entails taking preventive measures in order to avoid further damage from occurring. In order to do this, restorers employ a range of techniques that measure and limit the painting’s exposure to light, pollutants in the air, incorrect climate conditions and biological contamination.
In contrast to passive conservation, restoration of paintings could be defined as ‘active conservation’ which encompasses anything from emergency interventions after an accident, to reviving the painting’s aesthetic and investment value. Although restoration is often associated with the intention to bring the painting back to its original state, this it is not always possible, nor desirable. It all depends on whether the proposed restoration treatment takes into account and balances aesthetic, historical and ethical considerations. Proposed restoration interventions are always formulated following preliminary research and close examination of a painting under a microscope, UV light, X-ray and Infra-red light.
Sofrino’s staff have been trained at renowned institutes such as the Antwerp Royal Academy of Fine Arts, and regularly attend masterclasses given by international experts on new techniques such as thread-by-thread tear mending.