In terms of art history, panels are often significantly antique – this material being a typical precursor to the use of a stretched canvas. In some artistic cultures the use of a wooden base became traditional, especially due to being easily obtainable outside of academic circles in later centuries.
Above: Christ Bearing the Cross by Nicolaos Tzafouris (15th century), Madonna and Child by Guariento di Arpo (14th century) and The Presentation in the Temple by an known Byzantine artist (15th century)
In many ecclesiastical settings, having visual symbolism is incredibly important, this is the reason why Orthodox icons are so popular and vast in number. However, they have often been kept within churches for centuries without climate control, slowly degrading and discolouring due to the heavy use of candles and incense.
Above: an oil painting on panel during conservation treatment
Conserving icons is not just a matter of artistic legacy, but an act of continued religious devotion. This article will look into the history, themes and preservation of Orthodox icon panels – including care tips and the complexity of professional panel restoration.
Above: detail of Madonna and Child by Duccio di Buoninsegna, 1290-1300
Orthodox panel themes and figures
Icons are presented on the iconostasis between the nave and the sanctuary in the Orthodox church. An Orthodox icon is a stylised and often gilded religious painting, found commonly in countries with an Orthodox Christian background: such as Greece, Slavic countries such as Russia and Ukraine, the Byzantine empire, Egypt and Ethiopia.
Above: orthodox icons from around the world – Birth of John the Baptist (1475-1500), Triptych of Ewostatewos and Eight Disciples (17th century) and Descent into Hell (18th century)
Icons are used in religious devotion, but importantly, they are not worshipped themselves. This distinction not being made has led to claims of heresy and sacrilege from some Christians. They most often depict Jesus, but other common subjects include Mary, saints and archangels.
Above: detail from a Russian deesis icon depicting Christ Enthroned with Saints, 1460-1470
According to popular tradition, Luke the Apostle was the first to create an icon. Hagiographers who create icons were, and are still, expected to live spiritual lives, praying and fasting to ensure holiness, so that the icons are theologically accurate and respect the traditional principles of the religion.
Above: detail from an engraving of Saint Luke Painting the Virgin by Dirck Vellert, 1526
There are around five different categories of saints that may be depicted in icons:
The Apostles, such as St Andrew and St Paul, who are often depicted with a yellow ribbon on their shoulders to depict their accomplished mission.
Prophets such as King Solomon and Joel, who may hold open scrolls sharing their faith.
Martyrs such as St Marina and St George, who may wear a red cloak to depict their bloodshed for their faith. They often hold a cross, or raise their free hand.
Fathers or hierarchs of the church, such as Basil the Great, depicted in clergy vestments, often holding a gospel book, and making a gesture of blessing.
Monastics, such as St Euthymios, who wear a monastic habit, usually hooded, and hold a prayer rope, cross or scroll.
Above: detail of an Italian Virgin and Child icon with strong Byzantium influence, 1265-1285
Caring for icon panels
Orthodox icons may consist of a number of materials. The most common icons are created on wood panels, using either oil paint, or tempera paint, which is created using egg whites blended with pigment. Gold leaf will also often be used to embellish the painting. However, many other mediums can be used, including metal casts, stone carvings, embroidery, mosaic, fresco and printing.
Above: panels exhibiting typical discolouration and decay – Dormition of the Virgin (15th century), St Andrew (16th-17th century) and St John The Baptist (18th century)
The main challenge facing Orthodox icons at the moment is storing them. The storage of oil panels is a delicate task, as changes in the environment can lead to damage to the paintings. As icons are often held in churches, frequent transfers between parishes can mean that the storage conditions change frequently. This can be a problem if the humidities and the temperatures are different, as this can lead to the warping of the wood, which may split the painting.
Above: a variety of icons displaying different forms of damage, including surface dirt, woodworm, flaking paint, cracked gold leaf and smoke contamination
Damp storage, too, can pose problems, as the wood will essentially absorb the moisture, leading to structural insecurity. A further challenge is smoke damage from candles or incense, which can build up a smoky residue on the painting which may damage the paint if it is not carefully – and professionally – removed. One final problem which oil panels face is woodworm, or even termites in warmer climates, which can essentially disintegrate the wood.
Above: an example of woodworm on a Cypriot icon panel – Christ on the Cross with Mary and John, 1250
To correctly care for oil panels, they should be kept at the optimum temperature, which is anywhere from 17-22°C. Too much fluctuation in temperature can warp the panel, so it is best that the temperature remains stable when the panel is being stored. This is also the case for humidity, which should be kept ideally between 45% and 60%, and should not change by more than 5% in a 24 hour period.
Above: a icon with a deteriorating painting found under the embellished frame – The Christ Child with Saints Boris and Gleb (16th-18th century)
The room in which the painting is stored should be ventilated, but drafts should be avoided. Oil panels should not be kept close to heaters, and direct sunlight should be avoided. Burning candles or incense can lead to a built-up layer of soot over time, which then must be removed professionally. Finally, a layer of dust can build up on the surface of the painting, which requires careful attention when being cleaned, or the paint itself may become damaged.
Conservation and restoration of icon panels
The restoration process of oil panels consists of 2 main parts. Firstly, the structural restoration, and secondly, the aesthetic restoration. The structural restoration focuses on securing the panel, and protecting it from further damage. This may be completed through restoring breakages, removing pests and filling woodworm- or termite-damaged panels, or even reframing the painting to accommodate the natural warp of the panels, which may be done using cushioning backboards. Further, the structural restoration may involve stabilising the paint layer, and making sure that the paint is correctly bonded to the panel.
The aesthetic restoration of oil on panel may involve multiple steps. Old and yellowed varnish layers can be removed, which might restore some of the original vibrancy of the painting. Layers of dirt built up over time can also be broken down and removed. Lost areas of paint and flaking pigment may be carefully retouched, making sure to retain as much of the original paintwork as possible.
Due to the fact that oil panels are often relatively old, lots of the work is often accounting for the previous restoration of the painting, which is usually very different from the types of restoration we currently do. In current restoration practices, we carefully consider the ethicality of changing a historic painting, so our work tends to focus on keeping the original paint, and only retouching or adding more pigment when absolutely necessary. This is reflected in our restoration of oil panels, as we try our hardest to ensure that the painting remains as original as possible, whilst still being in better condition.
Further artworks in churches such as oil paintings on canvas, statues, altarpieces and works on paper can also be restored and preserved by our conservation team. In the main text above is an example of a typical icon panel restoration and below is treatment to an antique print. In our studio, conservators of all disciplines can work together to achieve safe and effective results.
Credits
This article was written by Martha Alban in collaboration with the conservation team and lead art historian at Fine Art Restoration Company. Martha is a work experience student who hopes to study Russian and German languages at university, with a secondary focus on Art History and Business.
How can we help?
If you have any questions about restoration and conservation, please do not hesitate to get in touch. As part of our service we offer a nationwide collection and delivery service as well as information on worldwide shipping to our studio. E-mail us via info@fineart-restoration.com or call 0207 112 7576 for more information.
