Due to differences in the oil paints used for this work, the different colors dried at different rates. This created rifts in the paint film, also known as craquelures. This type of problem was common for Color Field painters, including Leon Polk Smith (1906 – 1996) before he switched to acrylic paints. Over time as these problems emerged, Polk was told to coat the work with varnish, but unfortunately this introduced another element which dried and contracted at its own rate.
Using the Dutch method we stretched the painting and carefully cleaned it and removed the varnish–the black field was where it was it the most troublesome. Linen threads were then added to the reverse to add strength, and heat and vacuum were used to flatten the paint surface.
The original stretcher bar was a fixed corner, a design that does not allow for adjustments to keep the paint film taut. A new stretcher bar was made as well a float frame that matched the style of the previous frame. The painting was then delivered and installed at the client’s house.