In today's environment where works of art are acquired as much for their aesthetic value as for the increasingly safe investment they represent, the role of the art restorer/conservator is gaining in importance. The term extends to the restoration and conservation of paintings, murals, sculptures, manuscripts, textiles and other art objects. Its aim is to bring old or existing works of art to conform as closely as possible to their original condition. 

In the course of their work restorers are also usually able to distinguish between fakes and the original. India, with its wealth of antiques and artifacts is in urgent need of skilled, qualified people who can preserve these treasures for posterity. This realization however, has grown very slowly over the past forty years.

Until the 1950s, conservation was the jealously guarded preserve of a few expert craftsmen. Even then, scant attention was paid to the treatment of oil paintings-and efforts in this area usually amounted to removing flaking paint, retouching and over painting. Awareness of the need for a more scientific approach has come only recently-a need that becomes more pressing as an increasing number of works, due to neglect and ignorance, pass beyond any hope of restoration. 

Soon after Independence, the team of experts at the National Gallery of Modern Art comprised three people. Less than five years ago, the only restoration laboratories in the country were at Baroda, Calcutta and New Delhi. What started out, as a rare individual doing an occasional job has now become a full-fledged and very lucrative-profession. The number of laboratories and experts has grown but still amount only to a handful. 

There remains a large gap between the demand and availability of skilled art restorers and conservators in India. Success in this profession is entirely dependent on the restorer's skill and sensibilities. Both men and women therefore, have an equal start. It does however; take many, years of experience, working under an expert, before an individual restorer can launch into private practice.

MAIN RESTORATION CENTRES

Most restoration and conservation work in India is conducted through one or other of the following:

National Museum Centers

These are situated at Lucknow, Delhi, and Calcutta. The National Museum centers look after their own art works and those of other state museums. By and large, their services are confined exclusively to government collections. Private works are taken on only if they have some connection with our national heritage. In such cases, no service fee is charged to the owners.

INTACH Art Conservation Center

The Indian National Trust for Art and Cultural Heritage (INTACH), New Delhi, attempts to make restoration and conservation facilities affordable to private collectors and institutions, by charging a nominal fee that covers basic costs.

Restoration Firms

A few restoration firms based in Delhi and elsewhere undertake consultancy and restoration work for private Art Restoration collectors. However, due to the time and expense involved in the process, their fees are quite high.

Private Practice

Some highly experienced restorers have now begun to branch out on their own. The high costs of maintenance and equipment has ensured that private studios are few and far between.