Paintings don't need protection?

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I'm currently reading The Judgment of Paris, by Ross King, and its interesting that in the 1860s and 1870s, when Monet was first starting out, his work was at risk of the same sort of treatment from outraged Parisians.
 
Holy Crap! The Orsay having a "fragile" door???? :eek:

Next we'll be told that the Mona Lisa is actually a guy. :D

Sounds more like a case for better doors than protective glazing.
 
I would bet the damage would have been worse in this instance with MG in front. I doubt if the drunks would have even felt the glass shreading their fist, but it might have left some DNA around.
 
Dave, most of that being used in public spaces [museums] is a version of OP3 Optium Museum, and it's a lamination just so it won't break. Same with the older "Museum Glass" that they were using... barrier lams .. it will break, but doesn't come apart or shard.
There used to be an ad somewhere with a 1/4" piece of lam-plate glass with a sledgehammer, a ice axe, and a framing hammer (26oz straight claw for house building) and they are all stuck in the glass.... and the shatter fractures and localized to about 2" around the impact. Very impressive.

Now back to that stupid door..... :faintthud:someone should take that curator and head of security and
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&
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Not that I would be promoting violence. :smileyshot22:
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FrameMakers said:
I would bet the damage would have been worse in this instance with MG in front...
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Museums concerned about security use optically coated acrylic or laminated glass. Either of those products probably would have thwarted the vandals. I doubt anyone would consider using single-strength glass when intentional destruction is an anticipated hazard.

Security is one reason to use glazing, but it is probably not an issue for most of us who serve the consumer market. For us, environmental protection is more of an issue, such as protecting the painting from soiling, airborne pollutants, light damage, and ambient temperature and humidity changes. Accidental scratches and abrasions are common hazards in consumer displays, too.
 
I will use acrylic the next time I frame a Monet.

Carry on.
 
First a confession then some observations

When I first read the news article I did think "OMG if there where glazing it would be worse". Then I realized ( especially as I continued to read the replies here, that there are special needs in every application.

I think some have addressed why museums might use laminates and other forms of glazing that the normal gallery wouldn't worry about. but actually don't we ? I mean when i framed things I knew were going to hang in child's room I suggested acrylic for fear that the kids might throw a ball or even suggest security locks .

But then I remembered the show about the Declaration of Independence and the Glazeing used on it. Point being the protection afforded is commiserate with the needs of the work being protected and I dare say just as Jay just joked not many of the run of the mill farmers will have to concern themselves with what are the needs of the glazing of a Monet or other Classic. But they are Glazed and they don't need to BREATH so what ever strength the glazeing air flow isn't a consideration for the most priceless.
Maybe Hugh and Rebecca can tell us a few concerns we don't even begin ti imagine exist.
Thank God for CONSERVATORS and the MAGIC they can preform also.
BUDDY
 
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