"Very small" areas of lifting in the paint surface were noted upon Les Demoiselles d'Avignon's return from its loan to an exhibition in Paris. Jean Volkmer, the Museum's first paintings conservator, secured the lifting using a water-based synthetic adhesive. Volkmer also recommended a thorough exami...

In early 1963 Les Demoiselles d'Avignon underwent a more extensive conservation treatment by Volkmer. The "old and weak" stretcher was replaced with a sturdy expansion-bolt version then in favor because it allowed the gradual adjustment of the canvas tension. Rather than remove the well-adhered glue...

Paper Tape and Glue Residue on Canvas Edge After the painting was lined and tacked to the stretcher, paper tape was adhered with animal glue to the edges of the lined canvas. Some of this glue spilled over onto the surface of the original canvas and has subsequently discolored. Pictured above: Pablo...

Vertical Cracks Pictured above: Pablo Picasso. Les Demoiselles d'Avignon. 1907. Oil on canvas, 8' x 7' 8" (243.9 x 233.7 cm). Acquired through the Lillie P. Bliss Bequest. 2002 Estate of Pablo Picasso/Artists Rights Society (ARS), New York Fig. 1 A photomicrograph revealing cracking of the paint and...

While no relining occurred in 1948, the records indicate that two years later, in 1950, the painting was cleaned, old retouching was removed, losses were filled, and the painting was "resurfaced" (i.e. varnished). Poly-butyl methacrylate, a synthetic resin, was used to coat the painting (Caroline Ke...