Lighting works of art for exhibition and conservation

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Abstract
Display lighting which enhances object appearance may be legitimate for many museum exhibits, but is generally inappropriate for works of art. These require presentation which reveals their intrinsic visible characteristics with accuracy and honesty, and the term 'exhibition' is used to distinguish this process from display. It requires that the entire setting, including lighting, develops from an aim to reveal works of art rather than to enhance them, and the notion of 'the well-lit room' is promoted as a concept which expresses the essentials of this design approach. However, it is evident that these may conflict with recommended illuminance maxima, particularly the 50 lux level for more sensitive objects. A working model of the photochemical processes is proposed to give an improved basis for specifying control of lighting. Limiting values of annual damage exposure are derived from the current illuminance maxima recommendations; these permit a more flexible approach to reconciling competing requirements for exhibition and conservation. Also, the model provides a framework which enables information relating to exposure of materials and to means for controlling degradation to be evaluated in terms which can readily be related to actual conditions of exhibition m museums and art galleries.

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