Before the dog tried to eat it	After the dog tried to eat it

Living with art can be a joy and a challenge. Art collections encompass drawings and paintings, cultural artifacts and decorative arts. These varied collections include different materials -  paper, textiles, feathers, wood, leather, ivory, pottery, metals, wax and plastics. One collection often contains multiple materials, sometimes within a single object. With so many different materials we need to be aware of the specific needs of a particular collection. While the focus here is on paintings, the basic recommendations apply to all art materials.

Spending time and money to collect suggests that we value those things we collect. The value may come from "the thrill of the hunt" or the aesthetic pleasure of viewing or possessing the objects. Many people think that once they have purchased a work of art that is it. In fact, their active participation is just beginning. Although some collectors go to great expense, anyone can care for their art collection without spending a fortune.

Environment has a direct impact on the artwork. The proper environment can slow deterioration, thus extending the collection's life. Obviously, different materials may have different environments that better suit them. Some environments speed up deterioration. With so many materials, how do you know what environment is best for your collection?

Conservators often talk about "agents of deterioration" - things that can damage collections. Among these are improper lighting, improper temperature and relative humidity (RH), pollutants and pests. The Canadian Conservation Institute provides a complete list and explanation of the ten agents of deterioration. Generally speaking, temperatures comfortable for people are good for art collections: 68˚F - 72˚F. Once, the recommended relative humidity was 50%, low enough to deter corrosion and high enough to deter embrittlement of organic materials. Now, more research gives us a better idea about relative humidity.

Generally speaking, rapid relative humidity fluctuations cause more damage than specific relative humidity levels. This means that hanging a painting over a heat register, in front of an air conditioner vent or on an exterior wall is more likely to damage it, since these are areas that have rapid environmental changes. It is best to keep the environment stable, avoiding sharp changes, while trying to reach an ideal. Maintaining a broader relative humidity range that is safe for the collections lowers energy costs. A range of 45%-55% RH may be more practical than a rigid set point. Be aware, though, that extremely dry climates, such as the arid areas of Montana or Arizona, may require a lower RH level. If you try to maintain 45% in these areas, you might cause damage to your home, especially during the winter. Do not drop below 30% RH, and make sure there are no rapid relative humidity changes.

We extend the life of our collections by reducing the amount of time they are exposed to those agents that hasten their deterioration. While cultural institutions strive for proper environmental conditions, at home we may be faced with a less than ideal environment. Still, we can take steps to improve the care of our collections. Control light exposure through filtering materials and correct placement of artworks to minimize light damage. A painting's colors last longer when displayed on the interior wall of a dark hallway than on a wall facing a window.

How we handle and behave around our collections is just as important as the right environment. No one wants to be like the wealthy collector who, when showing off his spectacular new painting acquisition, turned from his guests toward the art and put his elbow through the painting! In my line of work I see many different types of damage to paintings. Some are due to improper environments. Most are due to improper handling. The thing that causes the most damage to art collections is us.

Just as we can take steps to improve environments, we can also limit risks to paintings from ourselves by using common sense.

Some key points will guide your efforts to care for your art collections:

• Avoid unnecessary handling.
• Before handling, check the condition of the artwork. Make sure there is no flaking paint.
• Do not handle a painting larger than you can see around. Get a second person to help with a large painting.
• Be careful not to touch the face or the back of the painting. Never grab a painting by the top of the frame because the weight of the entire structure may cause the joints to pull apart.
• To move a painting, begin with the painted image facing you and support the painting or frame with one hand under the bottom edge and the other along the side.
• To clean a painting, after first making sure there is no flaking or lifting paint, use a very soft brush (like a Hake brush, available at art supply stores) and gently clean in downward strokes from top to bottom moving across the paint surface.
• Do not use feather dusters (spines on feathers can scratch), vacuum nozzles, or cleaning cloths on the painting. Also avoid the use of home remedies (e.g., raw potatoes, onions, bread, soap and water or other solutions) to clean paintings.
• Do not hang or attach a light directly to the painting or its frame.
• Avoid hanging paintings over fireplaces, even unused one. Also, do not place paintings over or under heating/cooling sources (e.g., vents, registers, radiators).
• Try to hang paintings on interior walls and in locations that do not receive direct sunlight.
• Try to place paintings in areas where there will be minimal touching or physical contact from people or from dogs chewing!  

Collecting and living with art brings with it a responsibility to care for the objects. Using common sense and care to provide a good environment and to ensure safe handling of your artworks will extend your enjoyment for many years.

Victoria Montana-Ryan, is a former Assistant Professor for the Conservation of Paintings at Queen's University Kingston, Ontario and former adjunct faculty member at the University of Denver where she was conservator of paintings at the Rocky Mountain Conservation Center for over a decade. Victoria is the Instructor for MS227 Care of Paintings. Ms. Ryan has authored papers on the care of paintings, integrated pest management, and the importance of working with appraisers; she has also appeared on the Discovery Channel to discuss care of personal treasures. She resides in Colorado Springs, CO where she operates her private conservation practice, Art Care Services, to serve the conservation needs of museums, historical societies, public and private collectors, institutions, corporations, and municipalities, focusing on the care and preservation of works of art. For more information visit her web site Art Care Services  

Center line hanging

Tom Bennett, Museum Manager at the Heritage Museum at Wells Fargo in Anchorage, Alaska, has worked as a professional museum mount maker for 25 years. He attended the University of Victoria British Columbia, Heritage Preservation Program's basic mountmaking course and learned the rest of his skills on the job. His mounts appear in the Anchorage Museum of History and Art, the Alaska State Museum, the Museum of the Aleutians, the Washington Historical Society, the Monterey Historical Society, the Los Angeles County Museum of Natural History, the Port of Seattle (Seattle-Tacoma Airport), and National Park Service and US Forest Service visitor centers. He has worked for five different museum exhibit design and fabrication firms as well as being the former director of the Alaska Museum of Natural History. Tom Bennett works in a variety of materials, including Plexiglas, brass, wood, and polyethylene foam. He teaches MS238: Design and Construction of Exhibit Mounts .