Most art in a home lives a hard life. It hangs in sunlit rooms, sits near heaters and gets moved during every repaint. Small habits make a big difference to how long a painting, print or photograph keeps its colour.
Gallery conservators work to clear guidelines for light, temperature and humidity. You do not need museum gear to borrow the main ideas. This guide covers where to hang work, how to frame it and how to handle it safely.
Why light does the most damage
Light fades pigments and weakens paper over time. The State Library of Queensland notes that works on paper and photographs are highly sensitive to light. Its guide to matting and framing also points out that fading cannot be reversed. Once a watercolour loses its colour, no cleaning will bring it back.
Ultraviolet light adds to the harm, along with visible light. Shepparton Art Museum’s conservation guide for artworks says UV should be reduced as much as possible. It suggests UV filters on windows and light sources such as LEDs that give off no UV. Direct sun through a window is the toughest exposure most home art will ever face.
How much light is too much
Galleries measure light in lux. The Shepparton guide suggests paintings be shown at under 250 lux. Organic materials should sit at a maximum of 50 lux. The simplest step at home is to keep art out of direct sun and away from bright lamps.
Some works need rest periods as well. The same guide says light sensitive items such as watercolours and dyed textiles should be shown for only three to five months. They then need a three year rest in dark storage. Few households rotate art that strictly, but swapping prints between a bright hallway and a dark cupboard follows the same idea.
Rooms with large windows need extra thought. If you have added skylights or rearranged a room around a sunny aspect, check how the light falls across each wall through the day. Strong afternoon sun will fade a print left in its path. A wall that only gets soft reflected light is usually the better choice.
Temperature and humidity at home
Paper, canvas and timber swell and shrink as the air changes. The Shepparton guide quotes current AICCM guidance of 15 to 25 degrees, with no more than four degrees of change in 24 hours. For relative humidity it gives 40 to 60 per cent in temperate climates. In humid climates the range moves up to 45 to 65 per cent.
Steady conditions matter as much as the numbers. Quick changes make materials expand and contract, which strains paint and paper. The State Library of Queensland suggests hanging work on interior walls that are not affected by heat or moisture changes. It also says to keep framed pieces away from heaters, fireplaces and vents.
Kitchens and bathrooms are risky places for art. Steam, cooking heat and grease all reach the walls. If you are planning a kitchen renovation, think about where art will go before the splashback and range hood are fixed. A framed print is often safer in a nearby dining area than above the stove.
Outdoor rooms and spaces near water need the same care. Enclosed pool areas and covered patios can hold a lot of moisture. Anyone drawing up swimming pool design plans should keep valuable originals well away from the water. Choose durable outdoor pieces for those spots instead.
Framing that protects the work
A good frame does more than look smart. The State Library of Queensland recommends buffered 100 per cent cotton or cellulose rag board for mats. Photographs and some print processes are sensitive to alkaline materials, so they need unbuffered board. Window mats and frames should be checked every 20 to 30 years.
How the work is attached is just as important. The safest options are archival photo corners or Japanese tissue hinges applied with wheat starch paste. Adhesive tape and double sided tape should never be stuck to the artwork. They are hard to remove and can stain, tear or buckle the paper.
- UV filtering glass or acrylic for valuable works on paper
- Spacers or a window mat so the glazing never touches the surface
- Glass rather than acrylic for pastels and charcoal, since acrylic can create static
- Stable backing such as corrugated board or corflute
- Seasoned timber or metal frames, as unseasoned wood can release harmful compounds
Frame depth also counts. The frame needs room for the full package of mat, artwork and backing. The outer edges can then be sealed with framer’s tape to keep out dust. Ask your framer which materials they use if the work matters to you.
Hanging and storing art safely
Hang framed work from two points rather than one. The State Library of Queensland suggests rings fixed at two points on the back of the frame. This spreads the load and helps keep the picture level. The Shepparton guide adds that heavy works should not be stored up too high.
Storage is where a lot of damage happens unseen. Artworks should never be stored on the floor. Attics, sheds and basements are poor choices because heat, damp and pests are hard to control there. An interior cupboard in a room you use every day is a safer spot.
Glass walls and big windows change how art can be displayed. A home built around glass in your landscape design can flood rooms with light that is lovely for people but hard on paper. Hang the most sensitive pieces on solid internal walls. Save the brightest walls for ceramics, which the Shepparton guide says can handle more light.
Handling and cleaning
Skin oils can mark surfaces, so conservators wear gloves when handling art. The Shepparton guide says white cotton gloves are not generally recommended because they can slip on shiny surfaces. Latex or nitrile gloves are usually preferred. Carry one work at a time and hold frames by the sides.
Dust should be removed often, but gently. Any cleaning method should be tested on a small hidden area first. The same guide warns that damage can occur when someone without proper training tries a conservation treatment. For tears, flaking paint or mould, talk to a trained conservator rather than trying a home fix.
Artists who sell from home face the same issues with stock waiting to be shipped. Keep finished works wrapped and off the floor. If you show your art online, a one page WordPress website can display good photographs so originals are not handled for every buyer. Fewer trips out of storage means less wear.
Frequently asked questions
Can I hang a painting in direct sunlight?
It is best avoided. Direct sun brings UV and heat that fade colours over time. The State Library of Queensland advises keeping framed items away from direct sunlight and intense light.
What humidity is safe for art at home?
AICCM guidance quoted by Shepparton Art Museum is 40 to 60 per cent relative humidity in temperate climates. In humid climates the range is 45 to 65 per cent. Keeping the level steady is as important as the number itself.
Is it fine to use sticky tape when framing a print?
No, it is not. Tape is hard to remove and can stain, tear or buckle paper. Archival photo corners or Japanese tissue hinges with wheat starch paste are the safer choice.
Should I wear cotton gloves to move a painting?
White cotton gloves can be slippery on shiny surfaces. Latex or nitrile gloves are generally preferred. Clean, dry hands and a firm grip on the frame edges also help.
Looking after art at home comes down to steady conditions and gentle handling. Keep work out of the sun and away from heat and damp. Frame it with archival materials. A little care now means the colours you love will still be there for years.