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As individuals, the ways we come into possession of art objects are as diverse as our individual life stories. We inherit objects from our parents or distant relatives; we buy them as passionate collectors, as one-time buyers or as investors; we receive them as presents on special occasions or in memory of somebody special; we sometimes even find them abandoned on a street. Whatever the case, we are consequently invited to take care of these objects. By accepting the invitation, we show what we value.
Art historian Erwin Panofsky said that while all objects, whether natural or man-made ones, can give us aesthetic pleasure, art objects are the only ones that are created with this intention. "A work of art always has aesthetic significance (not to be confused with aesthetic value): whether or not it serves some practical purpose, and whether it is good or bad, it demands to be experienced aesthetically". The way a work of art "demands" from us to be experienced aesthetically is through its form and its materials. Only through a materialized form can the ideas and content of an artwork be conveyed to us. Therefore, an art conservator takes care of the damaged and changed materials so that our understanding of the artist's intentions and our enjoyment of the artwork can be reestablished to its optimum.
Unfortunately, most of the time, art objects are delicate by nature. They start changing the moment they are completed by the artist. Physical and chemical changes occur due to the natural aging process or deterioration or damage. Numerous circumstances can accelerate the process of deterioration, such as unstable or incompatible materials used in creating an art object or unfavorable environmental conditions: too much or too little humidity, heat or light and, especially, their abrupt oscillations; biological infestation; polluted atmosphere; neglect and even malpracticed conservation and restoration treatments.
The art conservator is often faced with a dilemma. On one hand, she wants to restore the original appearance of the artwork as much as possible, and on the other hand, she has to accept that some of the changes and damages may be irreversible. Moreover, she often deals with artworks whose aesthetics are defined by several previous conservation treatments. Each treatment is also an interpretation of the artwork, and as every interpretation, it is inevitably influenced by the ideas and fashions of the times. Even with the benefit of better scientific techniques available today, art conservation cannot escape this influence. For all these reasons, to be humble and do less is often more beneficial to the artwork. We can never know for sure how future generations will approach artworks of the past. The less the art conservator "interprets", the more is left for those who follow to see the artwork through the lenses of their own ideas and visions.
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