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Your search for 'conservation' returned 61 results.

Pictures Cleaned and Restored in the Conservation Department of the National Gallery, 1987

Read an article from the National Gallery Technical Bulletin

Giovanni Battista Tiepolo's 'Saints Maximus and Oswald': Conservation and Examination

Read an article from the National Gallery Technical Bulletin, by Larry Keith

Giorgione and not Giorgione: The Conservation History and Technical Examination of 'Il Tramonto'

Friday Lates: Ming Wong in conversation: Artist in Residence 2025

Artist in Residence Ming Wong discusses previous projects with Priyesh Mistry, our Associate Curator of Modern & Contemporary Projects, and Annabel Bai Jackson, our Dorset Curatorial Fellow.

Event, Talks & conversations

Mixed Media in the Work of Charles-François Daubigny: Analysis and Implications for Conservation

Read an article from the National Gallery Technical Bulletin, by Larry Keith and Raymond White

Behind the scenes in Conservation: Nicolas Poussin: The painter's painter: Why is this such an important painting in Nicolas Poussin's career?

Visit our Conservation studio and find out about the painting and what its conservation revealed.

Video (part of a series)

Behind the scenes in Conservation: Retouching Rubens's 'Het Steen'

After months of restoration, Larry Keith unveils the newly retouched 'Het Steen' in the Conservation Studio

Video (part of a series)

Behind the scenes in Conservation: Displaying 'The Red Boy'

Follow the newly-cleaned 'Red Boy's' journey from the Conservation Studio to the Gallery walls

Video (part of a series)

Behind the scenes in Conservation: The gory story of 'The Judgement of Zaleucus'

Britta New discusses the conservation of a 16th-century panel from the William Morris Gallery which depicts a gruesome tale

Video (part of a series)

Conservation revealed: 'The Virgin and Child with Saints' by Giovanni Martini da Udine

Issued August 2019

An Italian altarpiece will go on display today (Friday 2 August) for the first time in more than a hundred years, following a seven-year conservation treatment – one of the longest and most complex in the history of the National Gallery.