Claire Ducluzeau

In the service of art

• Claire has a particular taste for restoring old paintings
• She continues to train regularly at the Institut National du Patrimoine
• She believes that a scientific background is a great asset in the profession

In the service of art – that is how Claire Ducluzeau would define her work. Claire is a restorer and curator of artworks, with particular expertise in easel paintings. With a background in art history and a true love of craftsmanship, restoration seemed to suit her perfectly. Following her studies, Claire was awarded a scholarship, the Bourse aux Métiers d’Arts, by the city of Paris. This award enabled her to work in a prestigious workshop in the French capital and broaden her knowledge. Today, Claire works in her own workshop, located on the edge of Paris. She will work with any painting, from any period and on any support, always with the greatest respect for the artwork.

Interview

©Claire Ducluzeau

©Claire Ducluzeau

Why did you choose this career?

Restoration is a good compromise between my interest in art and art history – which is very theoretical – my artistic sensibility and my love for manual work. Moreover, the fact that it is essential to respect the work of another, to work without altering their intention, fits me well.

How does tradition combine with innovation in the field of restoration?

Restoration involves traditional techniques and materials that have been used since the beginning of the discipline. However, scientific innovations play an important role today. New methods are constantly being studied and developed to ensure the sustainability of artworks.

Can you describe a memorable moment in your career?

My three months internship in a convent in Syria where we were working on icons. This was two years before the war started. It was a beautiful country, and I created deep links with some of the other trainees, which are still unbreakable today.

Is there anything about restoration that people normally don't know?

As far as possible, all our interventions should be reversible. For example, we do not use oil paint for alterations, but ground pigments bonded to varnish. In this way, retouches can be easily removed with solvents in future interventions.

Claire Ducluzeau is an expert artisan: she began her career in 2011

Where