Folk Art: Understanding Aesthetics and History

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Folk art is a term used to generally describe works of art that have not always been part of the accepted canon of fine art as defined by a given society. Many objects considered to be folk art are inherently linked to a utilitarian purpose such as storefront signs and weathervanes. American folk art began to have collectible value in the early 20th century in large part from the endorsement of wealthy buyers like Abby Aldrich Rockefeller and Electra Havemeyer Webb. The exhibitions "Early American Art" at the Whitney Studio Club in 1924 and "American Folk Art: Art of the Common Man" at MOMA in 1931 are evidence of recognition within the art world. 

The rising interest in folk art at this time can also be attributed in part to marketing strategies, practiced especially by Modern art dealer, Edith Halpert, to appeal to a broader economic market. 


The significance of folk art objects is linked to more than simply aesthetic value. History of use and ownership are equally important in their presentation. 

Working on folk art may involve typical discussion with a curator, but it also can involve communicating with allied groups such as collectors, dealers, and craftsmen. 

My projects at Shelburne Museum have helped develop my sensitivity to the folk art aesthetic. 

Impact on Treatment

Treatment of folk art is often minimal. In other words the visual impact after treatment may be almost negligible.  


Before Treatment (above) and after treatment (below), rounding board

Gustav Dentzel Carousel Company, Carousel Rounding Board,ca. 1902. Paint on wood, 29 x 96 in. Collection of Shelburne Museum, acquired from Jones and Erwin, Inc. 1951-392.89.

 

Treatment is geared towards preservation and stabilization, but does not include much cosmetic improvement.

before treatment

after treatment

before treatment 

after treatment

 

Cleaning may be performed to remove so-called "museum dust" or light surface grime that has accumulated recently (since the time of acquisition as a "collectible"). 

Varnish (even if it is discolored) may be left on the painted surface of a folk art object, unlike an easel painting. This is done because that coating may have been applied to assist the functionality of the object and now serves as evidence of how it was used.  

The images above juxtapose details before and after treatment of two decoys. Surface cleaning was part of both of their treatments although the focus was on paint consolidation. The aesthetic improvement is very subtle, but great thought was given to the decisions about cleaning methodology. Review a detailed report here. 

detail before cleaning

detail after cleaning

The staining and wear visible on this rounding board is acceptable to remain to a certain degree after treatment because it is likely associated with the history of routine maintenance of the carousel. This physical evidence reminds the viewer of the larger context of the rounding board within a mechanized ride. 

Managing Expectations

It is important to be aware that an object may look very similar before and after treatment, but the structural integrity of the decorative elements will be greatly improved. It can sometimes take more time investigating and applying the appropriate materials for a minimal treatment than it does for a flashy cosmetic treatment or reconstruction. The object is not going to look "brand new" even if new materials have been applied. New gilding may actually have been toned to look aged. 


Before treatment, scissors trade sign

Unknown maker, Scissors Trade Sign,ca. 1900. Gold leaf on wood, 11 x 36 in. Collection of Shelburne Museum, acquired from Hobart Erwin. 27.FT-115.

Likewise, very minimal if any inpainting is typically performed on folk art. Losses on the surface may help tell a story of how the object was exposed to weather hanging outside. Overpaint may help demonstrate how the object was kept in working order over its lifetime. 

Occasionally, some loss compensation is performed so that the object reads as old and worn, but not broken or damaged. In these instances the inpainting is built up to match the surrounding patina of the aged surface. Inpainting materials in conservation are always removable and are only applied to areas of loss or over a barrier coating. 

before treatment

after treatment

after treatment

Using Format