Professional art restoration is both an art and a science, requiring expertise to bring treasured paintings back to their original glory. Claire Merenz, a 32-year-old painting restorer working from her studio in Arsdorf, Luxembourg, specializes in breathing new life into artworks that have suffered from time, environmental damage, and neglect. Her current projects include a family portrait, several landscape paintings from a private collector, and a particularly valuable small floral still life that demonstrates the meticulous care required in professional restoration.
According to Merenz, every painting presents unique challenges when it comes to preservation and restoration. "Every painting is a potential dust magnet in the truest sense of the word," she explains. When varnish - a fast-drying, colorless oil that serves as a protective layer - is applied to a painting, it can become sticky depending on where and how the artwork is stored, causing dirt and debris to adhere quickly to the surface. Over time, this varnish also takes on a yellowish tint that significantly alters the color effect of the artwork, diminishing its visual impact and authenticity.
The decision of when to restore a painting often depends on visible signs of deterioration and environmental factors. Merenz frequently encounters artworks from households where smoking was common, as nicotine deposits create a yellowish layer on paintings that can dramatically alter their appearance. She emphasizes that while restoration isn't mandatory, earlier intervention makes the work easier and reduces the risk of damaging the artwork. Additionally, addressing minor issues before they become major problems significantly reduces restoration costs for art owners.
Contrary to popular belief, the monetary value of a painting shouldn't determine whether it deserves restoration. Merenz currently works on a floral still life that is actually a copy of an original painting, but it holds tremendous sentimental value for an elderly woman who commissioned the work. "The actual monetary value is secondary here. It's the sentimental value that's decisive for her," Merenz explains. She doesn't turn down such requests because she understands how deeply people can connect with artworks, regardless of their market value.
Proper storage and display conditions play a crucial role in preserving paintings and minimizing the need for restoration. Merenz strongly advises against placing artworks in humid environments, making bathrooms completely off-limits for art display. Similarly, locations near heating sources should be avoided due to temperature fluctuations and dry heat. While kitchens aren't ideal due to potential grease contamination, she acknowledges that many people successfully display still life paintings in kitchens, though these require more frequent professional cleaning.
Ultraviolet radiation poses another significant threat to paintings, causing colors to fade rapidly and sometimes irreversibly. "If you hang a watercolor in the sun, it can happen that after a certain time you can't recognize anything anymore," Merenz warns. The optimal environment for displaying paintings includes a moderately lit room with consistent temperatures between 64 and 72 degrees Fahrenheit. While museums can maintain ideal humidity levels between 45 and 55 percent, she acknowledges that "unlike a museum, you can almost never guarantee that at home."
Framing provides essential protection for paintings, and Merenz strongly recommends proper framing for all artworks. "A painting that is in a frame is always more protected than one that isn't," she states. While Luxembourg offers several framing services that work with museums, many collectors choose specialists in Germany who operate locations near the border. However, she advises against using glass except for particularly vulnerable pieces or paintings that damage easily. Paintings on wood, which react more sensitively to humidity changes, may benefit from climate boxes that provide sealed environments, though these are rarely used by private collectors.
The restoration process itself involves multiple carefully executed steps that require both technical skill and artistic sensitivity. Merenz begins each project with a thorough examination to identify potential damage or problem areas. The first practical step involves using brushes to remove surface dust and dirt from all sides of the painting. Canvas paintings require particular care during this process, as excessive pressure can cause damage. Contemporary artworks demand even more caution since paint is often applied in thick, impasto layers that are vulnerable to pressure marks.
Surface cleaning follows dust removal and typically involves water-based solutions, but only if the canvas has been properly varnished. Unvarnished artworks present greater challenges since water treatment can cause paint to separate from the canvas. In these cases, Merenz must employ alternative methods and tools. Varnish removal usually requires solvents, but even the gentlest cleaning products can damage paint if not applied correctly. Oil paints present their own timeline challenges, as they can take up to 50 years to properly dry and cure.
Canvas tears represent one of the most common types of damage Merenz encounters in her studio. She points to an untreated case in her workshop: a painting that was inadequately secured to a wall with cord, fell, and was punctured by a sharp object. Her repair approach involves carefully repositioning the canvas threads, bonding them together, and reinforcing the area from behind with a patch-like material. "The canvas is later re-stretched and I want to prevent it from tearing again," she explains. Front-side damage is then addressed with color matching and paint application, followed by varnish application to seal and protect the repairs.
The visibility of repairs represents a philosophical divide between museum and private restoration practices. "I try not to hide anything," Merenz explains, though repairs are often only detectable when standing directly in front of the artwork. Museums frequently prefer repairs that remain somewhat visible, as these reflect the artwork's history and the restoration process itself. Private clients, however, rarely desire visible repairs. Merenz often asks her husband to examine completed work, noting, "If he doesn't see anything, my job is done."
The question of whether restoration affects an artwork's value remains complex and contested within the art world. Merenz recalls an encounter at the Antiques & Art Fair in Kirchberg where a woman asked whether restoring an artwork before resale would be worthwhile. While Merenz personally believes restoration adds value, she acknowledges that circumstances vary significantly. Some art buyers prefer purchasing unrestored works and then commissioning restoration after purchase, making it largely a matter of personal preference and market dynamics.
Restoration timelines and costs vary dramatically based on the artwork's condition, size, and required treatments. Projects can range from half a day to several months of work. Merenz uses a simple still life as an example of a straightforward cleaning job that required only a few hours and resulted in a bill in the low three-digit range, though she notes this represents an exception since most projects require more than basic cleaning. Her billing structure is hourly, making the scope of work and canvas size the primary cost determinants.
Despite her willingness to work on pieces valued for sentiment rather than monetary worth, Merenz does occasionally decline projects when the risks outweigh her expertise level. She recalls one particularly memorable request involving a Pierre Soulages work valued at 2.5 million euros. The piece presented multiple challenges: difficult color matching requirements, extremely thick paint application, dirt and paint that had merged due to sun exposure, and no protective varnish layer - common in contemporary art. "It was too big a risk in my eyes," she explains.
Merenz's background prepared her well for the technical and artistic demands of restoration work. After graduating from the Lycée des Arts et Métiers, she pursued studies at the École nationale supérieure des arts visuels de La Cambre in Brussels, earning a Master's degree in Conservation and restoration of works of art with specialization in easel paintings. Following a brief stint at the National Museum, the mother of two established her independent restoration practice in 2021. Her client base now includes private individuals, public institutions, museums, and businesses, reflecting the diverse need for professional art restoration services across Luxembourg and beyond.
