Paintings

Self-evaluation quiz

Question 1.

The support layer of a painting is:

a) the layer put on the back of the frame to support it;

b) the framework that supports the canvas;

c) the rigid board used to support unstretched paintings when they are being carried; or

d) the layer which carries or supports the image or paint layer.

Question 2.

Which of the following statements are true?

a) Traditionally paintings were produced on stretched canvasses or wooden panels.

b) There is no difference between a stretcher and a strainer.

c) The varnish layer serves only to make the painting look glossy.

d) A stretcher differs from a strainer in that the corners of a stretcher can be keyed out to tighten the canvas.

e) Paintings can be produced on a range of supports.

Question 3.

Fluctuations in relative humidity can damage paintings by:

a) producing dimensional changes in the support, which can lead to separation of the image layer from the support;

b) producing dimensional changes in the support, which can lead to cracking of the paint and varnish layers;

c) warping the stretcher, which in turn produces distortion of the canvas support;

d) increasing the risk of mould attack when the relative humidity is high; or

e) All of the above.

Question 4.

Which of the following statements are false?

When handling paintings you should:

a) Be sure the painting and frame are secure and safe to move.

b) Put your hand around the stretcher bar with your fingers between the stretcher and the canvas. This allows you to get a good grip.

c) Check your route and make sure it is clear. Also make sure all doors are open and that there are people available to assist if you need them.

d) Carry more than one painting at a time.

e) Carry wrapped paintings with extra care, because you cannot see what you are touching.

Question 5.

A good protective framing system will:

a) Protect a painting from knocks, because the frame will take the force of the impact.

b) Include a backing board, to protect the back of the painting from impact damage and to significantly reduce the risk of insect attack and dust build-up.

c) Be designed with protection, the history of the painting and aesthetics all taken into account.

d) Have a slip or a spacer to keep the glazing away from he paint surface.

e) All of the above.

Question 6.

When putting a painting into its frame, you should:

a) Use hammer and nails to fix the painting in place as this is difficult for people to undo and will ensure that it won't come loose.

b) Ensure that all surfaces contacting the painting eg. the slip, the rebate, the fixings etc are cushioned with an inert cushioning material.

c) Use spacers between the painting and the frame, if the painting fits loosely in the frame.

d) Build up the back of the frame with a stepped profile section to accommodate the backing board, the painting and the glazing and slip, if the frame includes glazing.

Question 7.

Which of the following statements are true?

a) Paintings should be hung securely because they can be badly damaged if they fall off the wall.

b) Paintings should be hung from two points on the wall.

c) The hanging devices should be strong enough to take the weight of the work without becoming stressed or warped.

d) The hanging device should be attached to two points on the frame.

e) If the work is exceptionally heavy, additional support can be given by resting the base of the frame on a shelf.

Question 8.

What are the ideal conditions for storing and displaying paintings?

a) 18-22ºC, 55–70% RH, brightness of the light at 550 lux and the UV content of the light no greater than 75µW/lm and preferably below 30µW/lm.

b) 20-30ºC, 45–55% RH, brightness of the light at no more than 250 lux and the UV content of the light no greater than 200µW/lm and preferably below 100µW/lm.

c) 18-22ºC, 45–55% RH, brightness of the light at no more than 250 lux and the UV content of the light no greater than 75µW/lm and preferably below 30µW/lm.

d) None of the above.

Question 9.

When storing paintings, you should:

a) Ensure that they have adequate support.

b) Place them on padded blocks on the floor, in an area where people are likely to walk past them often so that they can check their condition regularly.

c) Protect them from dust and fluctuations in relative humidity.

d) Roll large, unstretched paintings if you do not have storage furniture which can accommodate them flat.