The Atlantic documents a conservation approach pioneered in the 1980’s by Raymond Lafontaine, using color and lighting theory to hide fading and prevent having to tamper with the surface of the work. “In human color perception you have a light source, a surface, and a viewer, and the three interact,” says Jens Stenger, a conservation scientist who is using the technique to work on six murals by Mark Rothko at Harvard. “If you can’t change the surface, you can change the light source to change the color.”
Read more at The Atlantic
