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Guerrero Conservation Project

  • Nov 28, 2025
  • 2 min read

Updated: 3 days ago

Oil on Canvas Restoration – Ecuadorian Artist


Challenge

This project focused on a large-scale oil on canvas painting from the early 1970s by an Ecuadorian artist (a descendant of Filippo Lippi). The primary challenge was addressing severe structural damage: the painting had suffered a major fall, resulting in a significant, large tear through the center of the canvas.


Technical Solution

The conservation treatment focused on stabilizing the structural integrity of the canvas and renewing the aesthetic appearance of the painting:

  • Tear Repair: The damaged fibers around the large tear were meticulously realigned and secured using specialized adhesives and techniques to ensure minimal visibility and maximum structural strength.

  • Lining: The original canvas was adhered to a new secondary support (lining) to provide overall stability, ensure even tension, and reinforce the area of the tear repair.

  • Cleaning: Following structural treatment, the painted surface underwent a careful cleaning process to remove accumulated surface grime and discolored varnish layers.

  • Inpainting/Retouching: Final chromatic integration was performed over the tear repair and areas of paint loss to seamlessly restore the visual continuity of the artwork.



The Result and Images

The intervention successfully repaired the structural damage caused by the fall, making the tear nearly imperceptible. The cleaning and lining processes reinforced the canvas and revived the original colors, securing the painting for future enjoyment.




Tear


Tear Detail


Preparation of the Auxiliary Canvas.  

This canvas is used as a lining to reinforce the original damaged canvas support.


A Facing is put on the front of the painting in order to protect the paint layer from 

obtaining any further damage.


Preparation of the Paste (Glue) used to attach the to canvases together.


Removing the facing after the Lining procedure a completed.


Tear after Lining procedure.


Tear after Infilling


Tear after Inpainting

Painting after Conservation treatment


“All work accomplished follows the Secretary of the Interior”s “Standards for the Treatment of Historic Properties” and the American Institute for the Conservation of Historic & Artistic Works (AIC) standard


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From Private Collection to Historic Landmark.

Rachel Gilberti is the Founder of Gilberti - Fine Arts & Conservation. She is the specialist institutions and collectors trust to protect the irreplaceable. With over 20 years of experience, training in Florence, and a commitment to the standards of the American Institute for Conservation of Historic and Artistic Works (AIC), Rachel has led national and international projects, applying an uncompromised technical rigor to restore and revive your history and heritage with the highest standard of quality.

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