How to Care for and Clean Original Paintings
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Original art is built to last generations. A few simple habits are all that stand between your painting and a century of beauty — or a preventable mistake.
One of the most common questions I receive after a sale is some version of: "How do I look after it?" It is a good question, and the fact that buyers ask it tells me they understand that an original painting is not the same as a poster or a print. It is a living object in some sense, one that responds to its environment, and one that deserves a little conscious care.
The good news is that caring for original art at home is not complicated. The main risks are avoidable with common sense, and the cleaning, when it is needed at all. This guide covers both pastel and acrylic paintings, because the two mediums have different needs and many collectors end up with both over time.
"With proper care, a pastel painting can last centuries. Pastels from the 16th century still exist today, as fresh and vivid as the day they were made."
That longevity is not automatic. It depends on where you hang the work, how you handle it, and what you reach for when dust settles on the surface. Get those three things right, and you will likely never need a conservator.
PART ONE: PASTEL PAINTINGS
Understanding What Pastel Actually Is
Soft pastel is pure pigment held together with a minimal binder and applied directly to a textured surface, usually paper or a sanded board. The pigment sits on top of and within the texture of the surface rather than forming a hard, dried film the way acrylic or oil does. This is what gives pastel its extraordinary luminosity and velvety depth. It is also what makes it the most delicate of the major fine art mediums to handle.
Think of an unframed pastel as "wet paint." The pigment will smudge and lift with even light contact. Once properly framed behind glass, however, pastel becomes one of the most stable and permanent mediums in existence. There is no oil to darken or crack over time, no binder to degrade, and the pure pigments are as lightfast as those used in any other fine art medium. A correctly framed pastel painting genuinely does not need cleaning, because the glass does the protecting.
Framing a Pastel: The Most Important Step
Every original pastel painting from Starlit Studio is framed using fully archival materials throughout, including acid-free mat board and backing. Each piece is double matted with a slightly wider inner opening that creates a small gutter between the mats, designed to catch any loose pigment particles that may release over time, keeping them away from the painting surface and the front mat.
For glazing, I use extra-durable 3mm conservation acrylic that provides superior optical clarity with 99% UV protection, preserving the colors from distortion and light damage for the long term. Unlike standard glass, this conservation acrylic is also shatter-resistant, making it significantly safer during shipping and handling.
Steps to Frame Your Pastel Original Artwork
If you purchase an unframed pastel painting from another artist, framing it is the single most important thing you can do for its preservation. Do not delay this, and do not attempt it yourself unless you have experience with pastels specifically. Pastel framing has several requirements that differ from oil or print framing, and an inexperienced framer can cause irreversible damage.
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Find a framer experienced with pastels:
If you ever need to reframe a pastel, ask specifically whether the framer has worked with pastel paintings before. They should never apply fixative to the surface, never knock the back of the frame to shift dust, and never allow the glazing to touch the painted surface directly.
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Always use a double mat with a gutter:
This is non-negotiable. Pastel pigment will lift and adhere to glazing if the two surfaces make contact. A double mat with a slightly wider inner opening creates a small gutter where loose pigment particles can fall safely without reaching the front mat or the glazing.
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Choose conservation acrylic or museum glass, not standard glass:
Standard acrylic sheeting builds up a static charge that can pull pigment particles from the painting's surface over time, eventually creating a ghost image on the inside of the glazing. Standard non-glare glass makes colors appear dull and flat. Conservation acrylic with UV protection offers the same protective qualities as museum glass, with the added benefit of being shatter-resistant — an important consideration for shipping and households with children or pets.
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Use archival, acid-free materials throughout:
The mat board, backing board, and any tape used inside the frame should all be acid-free and archival grade. Non-archival materials off-gas acids over time that cause the paper to yellow and deteriorate. This is one area where cutting costs significantly shortens the life of the work.
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Seal the back of the frame:
A dust cover on the back of the frame, typically a sheet of acid-free paper or card taped tightly to the frame's back edge, prevents dust, insects, and humidity from entering the frame from behind. Ask your framer to include this, or apply it yourself with archival tape after framing.
Handling an Unframed Pastel
If a pastel painting is waiting to be framed, or if you need to move one before it can be reframed, treat it with extreme care.
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Where to Hang a Pastel Painting
Once framed, a pastel painting is remarkably resilient. The main environmental enemies are direct sunlight, humidity, and temperature extremes.
Even museum glass with UV protection does not block all damaging light. Direct sunlight over years will fade pigment and degrade the paper support. Choose a wall that receives indirect or ambient light, and if the room is very sunny, consider UV-filtering window film.
| Room | Suitable? | Notes |
|---|---|---|
| Living room | Yes, ideal | Stable temperature and humidity. Avoid walls shared with exterior that fluctuate seasonally. |
| Bedroom | Yes, ideal | Generally stable. Avoid walls directly above or beside a humidifier. |
| Hallway | Yes, with care | Avoid front door hallways with large temperature swings when the door opens in winter. |
| Kitchen | Not recommended | Cooking oils, steam, and temperature fluctuations are damaging to paper and pigment. |
| Bathroom | Never | Humidity causes paper to warp, buckle, and develop mold. No exceptions. |
Cleaning a Framed Pastel
Here is the most important thing to know about cleaning a framed pastel: you are cleaning the frame and the glass, not the painting. The painting should never be touched, and if dust or marks have somehow reached the painted surface inside the frame, that is a job for a professional conservator, not a cloth.
Dusting the frame
Use a clean, dry microfiber cloth or a soft natural-bristle brush to dust the frame regularly. Work gently and avoid pressing into joints or crevices where dust can push toward the inside of the frame.
Cleaning the glazing
For conservation acrylic (as used in all Starlit Studio frames for pastel original artwork), spray a small amount of ammonia-free acrylic cleaner or plain lens-cleaning solution onto a clean, soft microfiber cloth — never spray directly onto the surface, as liquid can seep under the frame and reach the artwork. Wipe in slow, gentle, single-direction strokes. Do not use standard glass cleaners containing ammonia on conservation acrylic, as ammonia will cloud and permanently damage the surface over time.
PART TWO: ACRYLIC PAINTINGS
Understanding What Acrylic Is
Acrylic paint is a water-based medium that dries by evaporation to form a flexible, durable polymer film. A finished acrylic painting on canvas is a robust object that does not require glass to protect it. Many acrylic paintings are displayed unframed, with the canvas edges painted, and this is perfectly fine for the long-term life of the work.
The main characteristic of acrylic that affects care at home is that the dried paint film is thermoplastic, meaning it can soften slightly with heat. It is also softer than oil paint and has a slight static charge that makes it attract and hold airborne dust more readily than other mediums. Both of these properties inform how you clean it.
Where to Hang an Acrylic Painting
Acrylic is more forgiving than pastel about environment, but it has its own sensitivities.
| Room | Suitable? | Notes |
|---|---|---|
| Living room | Yes, ideal | Keep away from heat vents and fireplaces. Avoid direct sunlight on the painted surface. |
| Bedroom | Yes, ideal | Stable and low-traffic. Good airflow reduces dust accumulation. |
| Kitchen | Proceed with caution | Cooking oils and grease will settle on the surface and become embedded in the paint film over time. Acceptable for short exposure; a busy cooking kitchen is not ideal. |
| Bathroom | Not recommended | Prolonged humidity can encourage mold growth on acrylic paint films. There is no ideal treatment for mold on acrylics that does not cause some damage. |
Ideal conditions
Aim for 68 to 75°F (20 to 24°C) and 40 to 50% relative humidity. These conditions minimize dust attraction and prevent the paint film from either becoming too brittle in dry air or too soft in humid heat.
Framing an Acrylic Painting
Acrylic paintings on canvas do not need to be framed behind glass. The dried paint surface is stable, water-resistant, and can be gently cleaned. Many collectors prefer the look of an unframed stretched canvas. If your piece did come with a frame, a float frame that displays the canvas without touching the paint edges is the most elegant option and does not require glass.
If you choose to frame under glass for aesthetic reasons or to reduce dust, use a spacer to keep the glass from touching the paint surface, particularly in areas of impasto or raised texture. Pressing glass against raised paint over time can cause the texture to flatten or the surface to develop marks.
Routine Dusting: Acrylic Paintings
Because acrylic paint films attract and hold dust, regular gentle dusting is the single most effective maintenance habit for an acrylic painting. How often depends on the environment: a low-traffic room with good air filtration may only need attention every few months, while a busy home might need more frequent care.
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Cleaning the Surface: When and How
If gentle dusting is not enough — perhaps there is a fingerprint, a light splash, or embedded grime from years in a smoky or dusty environment — a careful surface clean is possible on a varnished acrylic painting. The key word is varnished. Many acrylic paintings are finished with a protective varnish layer, and that layer is what you are cleaning, not the paint itself.
Is your painting varnished?
Look at the surface in raking light (a light source held at a low angle to the canvas). A varnished painting will have an even sheen across the surface. An unvarnished painting may appear more matte or show variation in gloss between different areas of paint. If you are unsure, contact the artist before attempting any surface cleaning.
For a varnished acrylic painting
Dampen a soft, clean cotton cloth with plain distilled water (not tap water, which contains minerals that can leave residue). Wring it out thoroughly so it is barely damp. Gently wipe a small test area in an inconspicuous corner — the lower edge of the canvas, for example. If no color lifts onto the cloth and the surface looks unchanged, proceed with light, single-direction wipes across the painting. Never scrub. Work in sections and allow each section to dry before moving to the next.
For an unvarnished acrylic painting
Water-based cleaning on an unvarnished acrylic surface risks swelling the paint additives and disturbing the pigment layer. If the painting is unvarnished and needs more than dry dusting, consult a professional art conservator. Do not attempt wet cleaning yourself.
PART THREE: HANDLING & MOVING ORIGINAL PAINTINGS
Whether pastel or acrylic, moving an original painting carries risk that most people underestimate. A few habits eliminate the most common causes of damage.
Always hold by the frame or stretcher edges
Never pick up a painting by pressing fingers into the canvas from the back, this creates permanent indentations. Never grip the front surface. Hold at the sides of the frame or at the top and bottom of the stretcher bars.
Photograph the work before moving it
If a painting is being transported, even just across the room, a quick photograph documents its condition beforehand. This is particularly relevant for insurance purposes and for identifying any damage that occurred in transit.
Pack correctly for transport
For framed works, wrap the frame (not the glass face) in bubble wrap or packing foam, keeping the glass face outward. Never place anything heavy on top of a painting. Transport framed pastels upright rather than flat, to prevent pigment from shifting onto the glass.
Let the painting acclimatize after transport
A painting arriving from a different climate may need 24 to 48 hours at room temperature before hanging, particularly if it arrived in cold weather. Canvas tightens and relaxes with temperature changes, and hanging immediately in a very different environment can cause temporary warping.
Storage
If a painting needs to be stored rather than displayed, the same environmental principles apply: dry, stable temperature, away from direct light, and never in a basement, attic, or garage where conditions fluctuate.
Framed works should be stored upright, not flat, with a soft buffer between any surfaces they lean against. Unframed canvases should be stored face-out, never stacked against each other without padding. Unframed pastels should be stored flat with a sheet of glassine over the surface and kept in an acid-free box or portfolio.
Insurance and documentation
As your collection grows, check whether your home insurance covers original art. Many standard policies do not, and a rider or separate policy may be needed. Keep a digital photograph of each work alongside your receipt and certificate of authenticity in a secure, backed-up location.
When to Call a Professional Conservator
There are situations where home care is not the right answer, and knowing where that line is will save you from making a problem significantly worse.
Call a conservator if you notice
Mold growth on the surface of either a pastel or acrylic painting. Flaking, lifting, or cracking paint on an acrylic canvas. Significant discoloration or yellowing of a varnish layer. Any structural damage to the canvas or support. Significant grime, smoke residue, or staining that does not respond to light dusting. Any damage to a pastel surface inside the frame.
A professional art conservator has the training, materials, and equipment to address these issues without causing additional damage. Attempting to fix them at home is one of the most common ways collectors cause irreversible harm to work they love. Conservation is not cheap, but it is always cheaper than replacing a piece you cannot replace.
"The best care for original art is preventive care. Get the environment right, hang it thoughtfully, and the work will outlast everything else in your home."
A Note from Han
Every painting that leaves my studio is made with archival materials chosen with its long-term survival in mind. The pastels I use are professional-grade, lightfast pigments. My acrylics are finished with an archival varnish layer. The papers and boards I paint on are acid-free. These choices are part of what I am offering when you invest in original work from Starlit Studio.
If you ever have a question about a specific piece you have purchased from me feel free to contact me directly. I am always happy to advise, and if a situation is beyond what I can help with, I can point you toward conservators.
