Buying a piece of original art is one thing. Taking care of it properly over the years, so it looks as good in twenty years as it does today, is another matter entirely.
Most collectors give a great deal of thought to selecting the right work. Far fewer give the same thought to what happens once it’s hanging on the wall. And yet the decisions you make about where to hang a piece, how to clean it, and how to store it can have a far greater impact on its long-term condition than almost anything that happens before it enters your home.
The good news is that caring for art at home doesn’t require specialist knowledge or expensive equipment. It requires awareness, consistency, and a few practical habits that quickly become second nature. Here’s where to start.
Light Is the Biggest Threat You’re Not Thinking About
Of all the things that damage artwork over time, light is the most relentless and the most underestimated. Ultraviolet radiation, present in both natural sunlight and many artificial light sources, causes pigments to fade, paper to yellow and become brittle, and certain paints to crack or shift colour in ways that cannot be reversed.
Works on paper, watercolours, and photographs are the most vulnerable. Oil paintings are more resilient but are still affected over time. Even works that look fine now may be losing vibrancy so gradually that you won’t notice until the damage is significant.
The practical steps to protect your artwork from light damage are straightforward:
- Avoid hanging art in direct sunlight. A wall that receives strong afternoon sun is not the right home for an original work, no matter how good it looks there initially.
- Use UV-filtering glass or acrylic when framing. This is one of the most effective single interventions you can make, and most professional framers offer it as standard. It doesn’t alter the appearance of the work but filters out the wavelengths that cause the most damage.
- Choose your light fittings carefully. LED lighting produces far less UV radiation than halogen or incandescent globes and generates less heat, both of which benefit your collection. If you use picture lights or spotlights, ensure they’re positioned so they don’t heat the surface of the work.
Temperature and Humidity Matter More Than Most People Realise
The materials that make up a painting or work on paper, canvas, wood panel, linen, paper, respond to changes in temperature and humidity by expanding and contracting. In a stable environment, this movement is negligible. In an unstable one, it’s cumulative, and the results can include cracking paint, warped supports, and mould growth.
Conservation specialists generally recommend maintaining a relative humidity of around 45 to 55 percent and a temperature of between 18 and 21 degrees Celsius for displayed artworks. Fluctuations matter as much as absolute numbers, a room that swings regularly between extremes causes more damage than one that sits consistently outside the ideal range.
In practice, this means:
- Don’t hang art above fireplaces or heating vents. The heat and low humidity created directly above these sources is particularly damaging to paintings and works on paper.
- Avoid exterior walls in poorly insulated rooms, where temperature swings can be significant.
- Be cautious with bathrooms and kitchens. High and fluctuating humidity makes these rooms poor choices for original works, even short-term.
- Consider a dehumidifier or humidifier if your home is prone to seasonal extremes, particularly in Queensland’s humid summers or the dry heat of inland regions.
How to Actually Clean Your Artwork
The honest answer to “how do I clean my artwork?” is: very carefully, and usually less than you think you need to.
For framed works behind glass or acrylic, simply clean the glazing with a soft, dry or slightly damp cloth. Never spray any cleaning product directly onto the glass, moisture can seep behind the frame and reach the work itself.
For unglazed paintings hanging on the wall, the most you should ever do without professional guidance is gently remove dust using a clean, dry, soft brush, a large, clean makeup brush or a dedicated art brush works well. Work from the top of the painting downward, and use gentle, even strokes. Do not use cloths, as these can catch on textured surfaces and cause damage.
Do not attempt to clean the painted surface of an original work with any cleaning product, including water. If a painting has visible grime, discolouration, or damage, the right course of action is to contact a qualified conservator rather than attempt to address it yourself.
Where to Get Professional Help in Australia
The Australian Institute for the Conservation of Cultural Material (AICCM) is Australia’s peak professional body for art conservation. Their website maintains a directory of accredited conservators working in private practice across the country, searchable by location and specialism. If you have a work that needs assessment, treatment, or advice beyond routine care, AICCM is the right place to start. The organisation also publishes collection care guidelines that are useful for private collectors, not just institutions.
Qualified conservators can assess the condition of a work, advise on the best environment for a specific piece, and carry out treatments ranging from stabilisation and cleaning through to more complex restoration. For significant works, having a periodic condition assessment is a worthwhile investment, problems caught early are almost always easier and less expensive to address.
Handling and Moving Artwork
Every time a work is handled, it’s exposed to potential risk. Oils from your hands can transfer to paint surfaces and cause long-term damage; accidental knocks can crack paint or damage frames; improper support can stress canvas or paper.
When handling original works:
- Always use clean cotton gloves for works on paper, photographs, and unvarnished paintings. For varnished oil paintings, clean dry hands are generally acceptable, but gloves are never a bad idea.
- Support the work from beneath, never carry a painting by its frame alone, as the stress this places on the corners can damage both the frame and the canvas.
- Avoid stacking works face-to-face or back-to-face without protective padding between them. If you must store multiple works together, use clean, acid-free interleaving materials.
- Transport works vertically, not flat, to reduce the risk of pressure damage to the painted surface.
Storing Works You’re Not Currently Displaying
Not every piece in your collection needs to be on the wall at all times. If you’re rotating works or storing pieces temporarily, a few simple steps will keep them in good condition.
Store works in a cool, dry, stable environment, away from exterior walls, attics, and basements, all of which are prone to temperature and humidity swings. Keep works off the floor in case of water ingress, and ensure they’re protected from dust with breathable (not plastic) covers.
Never store paintings in bubble wrap for extended periods, while bubble wrap is fine for transport, it can trap moisture against the surface and create conditions for mould growth over time. Acid-free cardboard or conservation-grade materials are better choices for longer-term storage.
Ask the Gallery When You Buy
One of the most valuable, and most overlooked, resources for new collectors is the gallery itself. Respected boutique art galleries with strong artist relationships are often able to provide specific care guidance for individual works: the appropriate environment, the best framing materials, and any particular vulnerabilities in the medium or support used.
If you’ve attended prominent boutique art exhibitions and bought work directly through a gallery, don’t hesitate to follow up after the sale with care questions. A good gallery wants your piece to remain in excellent condition, both for your satisfaction and because it reflects on the quality of work they represent.
The art you buy today, cared for well, should still be looking its best for generations to come. That’s a reasonable expectation, and entirely achievable with a little consistent attention.