Retouching

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Reworking small areas of a painting or photographic negative usually to cover damage or to mask unwanted features.[1]

Basics of painting retouching[edit | edit source]

The preservation of paintings commonly involves the reintegration of missing or damaged paint films to a state consistent with the remaining original. Retouching is not, in itself, a creative process but an act of problem solving to obtain an appropriate result through patience, informed decision making, and excellent color matching skills. This term can also be considered a synonym for inpainting.

The original painting film must be respected and neither altered nor concealed from view. Retouching must be preformed as objectively as possible with no attempt to misrepresent the artist's intent, conceptual, and physical characteristics of the painting.[2]

Is important that any given retouching are:

  • Inert towards the remaining original.
  • Removable from the remaining original at any given time without harming.
  • Stable and likely to alter as little as possible overtime to ensure maximum duration of the restoration, minimizing exposure to potential damage or swelling of the painting film through solvent action when the retouching is removed in the future.

To make the products or retouching reversible a thin layer of varnish is layered over the original paint to allow for easy removal. This also prevents the damage of the original paint in the event of removal. <ref "http://www.paintingconservation.co.uk/retouching/".</ref>

Related Terms[edit | edit source]

inpainting, overpainting

Translation[edit | edit source]

English retouching
Dutch retoucheren
Spanish retocando
Portuguese retocada
Italian ritocco
German Retusche
Russian ретуширование
Arabic إعادة لمس
Chinese (Traditional) 補彩

References[edit | edit source]

  1. Retouching. (n.d.). Retrieved from: http://www.getty.edu/vow/AATFullDisplay?find=retouching&logic=AND¬e=&english=N&prev_page=1&subjectid=300136723
  2. Stoner, J., & Rushfield, R. (2012). The Imitative Retouching of Easel Paintings. In The Conservation of Easel Paintings (pp. 607-634). Abingdon, Oxon England: Routledge.