Art conservator Suzanne Siano inspects million-dollar paintings

In October 2024, at the Grand Palais in Paris, Suzanne Siano, a skilled painting conservator known for her expertise, was in high demand during the Art Basel Paris fair. This event hosted numerous galleries and collectors, with countless valuable paintings being sold, making the assessment of each artwork's condition crucial to ensuring successful transactions. Siano recalled being approached for condition reports almost immediately upon entering the fair, emphasizing how collectors rely on her expertise to gauge the health of various works of art. Siano’s primary focus is on understanding how various factors impact the preservation of paintings. For example, she considers the type of paint used, the stretching method of the canvas, the artwork's age, and any protective varnish layers that may be applied. Recognizing whether a painting is made of acrylic or oil is vital to her evaluation process. During her inspections, Siano often encounters concerns regarding cracks that develop over time. However, she reassures clients that minor cracking is normal for many artworks as they age and doesn’t necessarily indicate a serious problem. This nuanced understanding is crucial for collectors who may otherwise worry about these imperfections. As an authority on Color Field paintings, Siano inspected notable works such as Helen Frankenthaler’s "Swan Lake I" and Morris Louis’s "Number 30,” both created in 1961. Her expertise enabled her to detect aging effects on the materials used, which can naturally darken and change over decades. Furthermore, she informed onlookers that specific characteristics, such as tiny holes found in a Louis painting, are standard aspects of the artist’s technique. Through her detailed analysis and skilled approach, she helps educate collectors about what to expect in terms of condition and preservation. At the Perrotin booth, Siano also took note of Bernard Frize’s contemporary abstract work, which presented challenges regarding transportation due to its unique waxy surface. She noted the risks in handling such pieces, particularly the necessity to avoid damaging areas of thickly layered paint known as impasto. Siano’s role as a conservator goes beyond simple inspection; she provides invaluable knowledge to collectors about the logistical concerns tied to the care and conservation of their artworks. Her discreet and professional methodology has established her as a sought-after figure in the world of art fairs, particularly at prominent events like Art Basel Miami Beach, where many collectors gather to acquire valuable pieces and rely on her expertise for informed purchasing decisions.