Conservators today are categorized in to so many groups; the technicians, the conservation strategists and the scientific researchers, but all of them without having a good knowledge of physics, chemistry, art and imaging can not give suitable services to their clients. By art market developments the expectations of clients is increased as well and the need for reliable documents about the art work is growing.

“paintings begin to change from the moment the painter finishes work on them. The effects of natural Ageing, light, heat and humidity, accidental damage and the sometimes necessary but frequently unwelcome attentions of owners, collectors and restorers all take their toll. Natural ageing is intrinsic to the materials of the painting. Pigments fade or change colour, the medium changes character and renders the paint more transparent, crack patterns (craquelure) develop as the paint dries, contracts and moves with the support. Some of these alterations are obvious, some more subtle.

The concept of restoration has always been somewhat dubious, since it implies returning a painting to its original state – something that cannot realistically be claimed. In the past, it was a term that included all kinds of repairs to damaged paintings – the mending of broken panels and torn canvases, the fixing of Aaking paint, the cleaning arvay of yellow varnishes, the filling of holes and the retouching of missing passages. It became an activity that was deplored when it apparently went too far — when original paint seemed to be scoured away, when retouching of losses turned into wholesale repainting, when compositions were completely altered to suit notions of contemporary taste.

Nowadays, the emphasis is on conservation, the preservation of paintings by means that do not necessarily involve active treatment. This approach is described in more detail later. The main purpose of the Gallery's conservation department is to prevent deterioration: to maintain the status quo. Much of its work is routine and often goes unnoticed, but is nevertheless vital. Every picture in the collection is inspected regularly and notes of condition made.” (David Bomford, Jill Dunkerto, Martin Wylid 2009)