ABOUT SOFT PASTELS |
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Technically, pastel is pure powdered pigment, rolled into round or square sticks and held together with minute amounts (enough to just form a stick) of methyicellulose, a non-greasy binder. It can either be blended with finger and stump, or left with visible strokes and lines. Generally, the ground is toned paper, but sanded boards and canvas are also popular. If the ground is covered completely with pastel, the work is considered a Pastel Painting. If much of the ground is visible, the work is a Pastel Sketch.
When protected by glass, pastel is the most permanent of all media, for it never cracks, darkens or yellows. Pastel works have been proven to last as long as, or longer than works in any other medium. They will preserve their colour and distinctive matte surface with the same freshness as when first applied.
Historically, the origin of soft pastel can be traced back to the Sixteenth Century, when Guido Reni, Jacopo Bassano, and Federigo Barocci were notable practitioners. Rosalba Carriera, 1675-1750, a Venetian lady artist, was the first to make consistent use of pastel. Chardin, 1699-1779, did portraits with a hatching stroke, while Quentin de la Tour, 1704-1788, preferred the blended, velvety finish. Thereafter, a galaxy of artists including Mengs, Nattier, Copley, Delacroix, Millet, Manet, Renoir, Toulouse-Lautrec, Redon, Vuillard, Bonnard, Glackens, Whistler and Hassam, used pastel as finished work, rather than for preliminary sketches. Degas was the most prolific user of pastel, and its champion, for he raised it to the full brilliance of oil.
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| THE CARE AND PRESERVATION OF PASTEL PAINTINGS |
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| Framing: |
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Pastel works are protected most effectively by framing, as this will avoid accidental smudging and abrasions, and the settling of dust. Check that your framer is fully conversant with the requirements for pastel framing. |
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Paintings must NOT be sprayed with fixative prior to framing. I have applied fixative to my paintings during their creation, but to avoid dulling of colours, the final layer of pastel must NOT be sprayed. |
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At least an eighth of an inch space should be provided between the surface of the composition and the inner side of the glazing. This will protect against rubbing and the possibility of condensation and subsequent staining should there be a rapid drop in temperature. This space can be created by using a deep mat bevel, or inserting spaces or lifts between the art work and the glazing. |
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Pastels on loose sheets of paper should be hinged at all edges or over matted to avoid the rubbing of powder against the glazing once framed. |
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| Matting materials should be 100% ragboard (acid free). This will help to avoid discoloration due to acidity, and will provide mild buffering action against changes in humidity. |
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For glazing, use only anti-static materials to avoid having the powder lifted off the surface of the composition. Such products include ordinary glass, and non-reflective glass incorporating an ultraviolet barrier (such as Schott Amiran, Denglass Water White, or Tru-Vu Museum Glass). Acrylic sheeting should be used with caution because of its static charge. If it is used, apply anti-static solution to the inner and outer sides of the sheet. Guard against large thin sheets of acrylic because they will bow and rest on the surface of the pastel, and avoid turning any pastel face-down. |
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| Storing Unframed Works: |
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When storing for any length of time: |
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Pastels that are not framed are best protected by storing individually in flat file drawers, or shallow archival boxes. |
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When unframed pastels must be stacked, their surfaces can be protected with interleaving paper. Choose a smooth, hard surfaced, non fibrous paper, such as glassine or silicone release paper � avoid materials that have a static charge such as Mylar and various films. |
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Do not put pressure on the top of a pile of pastels. |
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Avoid any friction in positioning or removing the paper from the surface of the pastel. It is best to hinge or position the pastel on a sheet of ragboard larger than the dimensions of the art work, and to tape the protective paper, which is larger than the pastel, to the ragboard. This will help to keep the pastel in place, and provide a resilient surface for lifting it. The margins of this support will also provide an area to grasp, rather than placing hands or fingers on the work of art itself. |
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| Environmental Factors: |
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As with all original artwork, pastel paintings should be protected from adverse environmental conditions. |
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Pastel paintings should be protected from direct sunlight and fluorescent lighting , both of which will cause fading if the painting is exposed for an extended period of time. |
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Works are susceptible to mold and mildew if exposed to humid conditions for more than 24 hours. If conditions are not rectified, the mold that forms will remain active, and can cause color changes and foxing (dark spots resulting from enzymatic activity of microorganisms). Humid conditions will also provide undulations in paper that can rub against the glazing and off set the pastel. Moisture absorption can be significantly reduced with a moisture barrier that can be made by covering the back of the matted composition, or the back of the frame, with a sheet of Mylar that is taped in place. Should mold be detected, it is best to unframe the pastel, expose it to dry, clean air, and reframe with acid-free materials. |
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To reduce the attraction of insects, use acid-free framing and matting materials, and a dust seal to cover the gap between the frame and the backboard. Strips of tape or a sheet of Kraft paper covering the entire back of the composition and adhered with double-sided tape may be used for this purpose. Avoid storage in dark, musty areas. |
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| Travel: |
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Pastels should travel flat, face up in a horizontal position, whenever possible, and should not be turned upside down. |
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If glass is used for framed pastels, taping it will protect against splintering and damage to the pastel should breakage occur. Additionally, foam padding placed in direct contact with the glazing and frame backing, and tightly packing the artwork will prevent movement in transit. Pastels framed with acrylic sheeting do not need to be taped. |
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If neither framing nor a horizontal position is possible, stability can be provided by packing the pastel between two sheets of ragboard or acid-free cardboard: the pastel should be hinged to the backboard and then covered with silicone release paper or glassine as described above. Tape the edges of the package together in order to protect from movement in transport. |