Describe your profession, finished products, and specialties: My work consists of restoring easel paintings. My specializations include the restoration and conservation of paintings from the 16th century to the present day, in all formats and on all types of supports: canvas, wood, paper, cardboard, copper. I work based on quotes and can provide an intervention report with photos upon request. All restorations are carried out according to professional ethics: aesthetic integrity, stability, and the reversibility of materials. They always respect the artwork and the painter’s intent.
What materials do you use? I use products from CTS in Paris, a supplier of materials exclusively dedicated to restoration. These are known for their stability and reversibility. I adapt my choices depending on the case, the painter’s technique, and the materials used.
Describe the know-how, techniques, tools, and materials you use: Techniques are selected case by case depending on the painting, its technique, its era, and its conservation state. These include traditional or modern methods: consolidation, relining, and different kinds of doubling (wax-resin or traditional paste glue lining, synthetic doubling). I use a thermostat-controlled iron, heated table, Wood’s lamp to detect overpainting, various Japanese papers, silk papers, tracing papers, non-woven papers, specific solvent mixes, gel solvents, Maimeris, natural pigments, and watercolors.
What is the typical profile of your clients? My clients are very conscious of heritage values, and want to preserve objects for future generations. They include art collectors, private owners, churches, and public institutions.
When and how did you start this profession? I began in 1988. I’ve always loved drawing and painting and knew I wanted a career in that field. After briefly studying law, I realized my talents lay elsewhere. With the support of experts like M. Rullier, I pursued studies in Paris.
Where and for how long did you train? What’s the best way to learn your profession today? I trained for four years in a painting restoration school and also studied at the École du Louvre. I interned in various workshops including Atelier Rostains (5 years), where I worked with experts and museum professionals. This gave me strong experience. Today, the best training would be a Master’s of Science and Techniques or the INP (Institut National du Patrimoine).
What role do talent and creativity play in your work? You need a gift, but also training. Restoration requires discipline—no errors. Retouching must align with the artist’s technique and materials, not interpretation. Creativity is restrained by ethics and must be used to solve problems without altering authenticity.
What about innovation? What’s changed since you started? The profession has evolved significantly. New materials are safer, and modern tools such as heated tables are now common. Scientific research helps with material analysis and authentication. Marketing and digital tools are essential for modern practice.
What is the best way to learn your profession? After acquiring theoretical knowledge (art history, painting techniques, chemistry, ethics), the best learning is through hands-on experience in various workshops, observation, and mentorship.
What message would you give young people? Choose this career out of passion. Key qualities: curiosity, observation, attention to detail. It requires focus and a pursuit of excellence. Technology offers new tools, but the restorer must always remain in control, serving the artwork first.
The evolution of technology opens up immense possibilities. But I believe technology should be used as a tool. The restorer must always remain in control of their gestures and the machines they use, always acting in the best interest of the artwork being restored and preserved.
