CONSERVATION at the Heart of The Ringling

With its museums, historic home, theater, and stunning bayfront gardens, The Ringling is a special place for exploration, discovery, and respite. In order to keep all of its collections and architecture in excellent condition, ongoing conservation efforts are required. This essential and important work is central to The Ringling’s institutional mission. For Chief Conservator Barbara Ramsay and her talented team, overseeing the long-term stability of The Ringling’s interior and exterior holdings is a rewarding and vast responsibility.

Conservation encompasses both preservation and restoration. The first rule of thumb in preservation (or preventing damage) is to follow best practices in climate and light control, as well as the careful handling of works of art. Following these precepts mitigates the need for conservation or restoration treatment (including repairing damage, removing inappropriate restorations, or compensating losses). When treatment is called for, current materials and methods are designed to be reversible and minimally invasive.

The Ringling’s Cuneo Conservation Laboratory is outfitted with state-of-the-art equipment to treat works from The Ringling collections. A recent acquisition is an Osiris infrared camera that allows conservators to see through the paint layers to reveal inscriptions, underdrawing, compositional changes by the artist, and evidence of previous damage or restoration.

One current conservation initiative—outlined in the previous issue of the Members Magazine—is treatment of the terra cotta ornamentation of Ca’ d’Zan. Fabricated in the 1920s, these objects and their supporting iron elements have deteriorated due to exposure to salt-laden air and rainwater. On the exterior of the Museum of Art, conservation assessment has helped to prioritize treatment of 45 historic iron lanterns in the loggia. Removal of old coatings and corrosion products, replacement of severely deteriorated elements, and protective coating of the most at-risk lanterns will begin in early 2017. In July 2017, conservation treatment will begin on 76 parapet sculptures, the over life-sized carved stone figures from Italy, many of which have become discolored or structurally unsound.

In addition, the Conservation team recently generated condition reports and treatment proposals for 350 Italian, Spanish, and French paintings in The Ringling’s permanent collection, with technical details to be included in the first comprehensive scholarly publication on the collection by Dr. Virginia Brilliant. The next round of conservation work on these objects—carrying out structural and aesthetic treatment—is a necessary part of the reinstallation of the Museum of Art’s original 21 galleries.

"As conservators, we respect and preserve as much of the original work of art as possible,” said Ramsay. “We do this through the development of a keen understanding of the nature and significance of the object, the careful selection of materials, and an approach that is rooted in both aesthetics and science.”

The meticulous documentation of all conservation testing and treatment is key, providing a detailed roadmap for future conservators to make informed decisions. This includes photography in a variety of lighting conditions, including ultraviolet and infrared, which can reveal details of the artist’s technique, condition, and any non-original additions.

“One of the most fascinating aspects of being a conservator is working with curators in scholarly research, bringing to light new information about works of art and artists,” noted Ramsay.

Other future projects include assessment and maintenance of the stone and bronze sculptures on the grounds as well as the cleaning, consolidation of paint, and conservation of the decorative panels of the Historic Asolo Theater. The conservation work at The Ringling is endless, and it is a vital priority, ensuring not only that the architecture and collections will endure for generations to come, but also that they will exist in a form that reflects the original intention of the architect or artist.

If you would like to support The Ringling’s critical conservation and restoration efforts, please contact:

Anna von Gehr, Senior Director for Development

941-359-5700 x 5804 or anna.vongehr@ringling.fsu.edu