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For my fellowship, I began surveying the entire series back in September and found that 26 of the 29 paintings in the series for the exhibition required conservation treatment. This was somewhat unsurprising given that, before coming to SAAM’s collection, the paintings had crossed the Atlantic Ocean twice. As an art conservator, it has been an exciting challenge to deal with the variety of condition issues from water staining to paint loss and structural damages in the solid supports (paperboard, plywood, Masonite, etc.). Each treatment is unique. I must carefully choose which conservation materials are appropriate and ask:
- Does this painting require structural stabilization and how can the composition be visually brought back together?
- Can my additions be easily removed in the future without damaging the original artwork?
- Will my palette remain lightfast or will the colors fade or darken over time?
- If a new frame is required, how can it help reduce direct handling of the artwork in the future?
Treatment began by removing surface dirt and addressing major structural problems, such as replacing missing corners, stabilizing tears, and filling losses. Next, I turned to address aesthetic concerns such as retouching paint loss.
Beyond returning the paintings to their original appearance, the most fulfilling aspect in treating this series has been uncovering new information about the artist, his travels, and his use of materials. On the backside of some Johnson paintings, I found manufacturer's stamps (see image of Upson Board below) and shipping labels that were added during one of the artist’s transatlantic voyages. On the front of many artworks, I found sketches Johnson had added in graphite pencil before he began painting in color.
By preserving these artworks today, the artist’s message will continue to inspire future generations and elicit meaningful dialogue about the meaning of freedom. With the current Black Lives Matter movement and George Floyd protests, I think about who else Johnson might have chosen to include in his Fighters for Freedom series if he were still alive today. Although my work with the Lunder Conservation Center is just one part of a larger story, preserving this influential series is a snapshot into the enduring power of art. To learn more about Johnson’s poignant artwork, read The Washington Post’s recent article about SAAM’s Moon Over Harlem and the Archives of American Art Journal’s 2019 article about SAAM’s William H. Johnson history paintings.
To see the full article and more images about Johnson's artwork and Teeter's research and treatment, visit the Smithsonian Magazine website.