Find out what qualities of watercolor made it the medium of choice for many Renaissance illuminated manuscripts, portrait miniatures and colored drawings Renaissance Watercolours: materials and techniques by Victoria and Albert Museum, London
Their island climate didn’t suit fresco, so the Venetians tried oils instead—these paints blend when wet. Oil paint in Venice by Dr. Beth Harris and Dr. Steven Zucker
This portrait was in good condition. Thanks to the removal of varnish and overpainting, it’s now cleaner than ever. Conserving a portrait of King Edward VI by National Portrait Gallery, London
A three-hundred year old painting required a lot of attention before it was ready for visitors to experience in the gallery. Painting Conservation of the Virgin of Guadalupe by Indianapolis Museum of Art
A restorer’s job is to make sense of a painting’s physical history and to stabilize its changeable materials. Conservation of paintings by The J. Paul Getty Museum
What happens when a painting is vandalized? See how conservators at Tate leapt into action to save a painting. Restoring Rothko by Tate
The three versions of this bedroom scene may look similar, but technical analysis reveals differences between them. The Science of Van Gogh’s Bedrooms by Art Institute of Chicago
Raking light reveals bulges and creases in a canvas, as well as the dynamism of van Gogh’s brushstrokes. Van Gogh’s Enclosed Field with Ploughman under ... by Museum of Fine Arts, Boston
Watch as a conservator removes decades-old varnish from a van Gogh landscape. Look at those stunning colors! Conservation of Vincent van Gogh’s Field with ... by Van Gogh Museum
This painting took months of cleaning and structural work to revive—and posed several conservation challenges. Michael Gallagher on Everhard Jabach and His ... by The Metropolitan Museum of Art
Learn how to paint like artist Mark Rothko, a major figure of the New York School in the decades following the Second World War. How to paint like Mark Rothko by Corey D'Augustine
Treating this still life involved reattaching paint, removing and reapplying varnish, and then retouching losses. Conserving Flowers in a Glass Vase by Victoria and Albert Museum, London
This magnificent portrait was recently cleaned for the first time in 60 years. Now, the silver brocade gleams. Conserving Velázquez’s Portrait of Philip IV by The Metropolitan Museum of Art
Discolored varnish had obscured much of these paintings, but technical examination revealed Gossart’s subtlety. Jan Gossart – Conservation Discoveries by The Metropolitan Museum of Art
When Jan van Eyck’s masterpiece started flaking paint, experts convened and drew up a plan for its conservation. Ghent Altarpiece project overview by The J. Paul Getty Museum
Newman called the lines in his paintings “zips.” Learn how they’re made and how they work. How to paint like Barnett Newman by Corey D'Augustine
Kline’s gallerist broke into his studio and replaced cheap paint with fine art paint—but Kline didn’t thank him. How to paint like Franz Kline by Corey D'Augustine
How does Reinhardt make his “black paintings” with no black at all? How to paint like Ad Reinhardt by Corey D'Augustine
Pollock drew in space with thin, industrially-produced paints over a canvas on the floor—learn how! How to paint like Jackson Pollock by Corey D'Augustine
Learn how to paint like artist Yayoi Kusama, a vital part of New York’s avant-garde art scene from the late 1950s to the early 1970s. How to paint like Yayoi Kusama by Corey D'Augustine