Fungal spots on Venkatappa paintings: What it takes to keep artworks intact

A controlled environment and regular monitoring are vital for the upkeep of artworks and memorabilia in museums and galleries, experts say. A fluctuation in humidity or temperature even over 10 days can trigger fungal growth.

On Wednesday, the artist community raised alarms after spotting fungal spots on watercolour paintings by legendary artist K Venkatappa at the Venkatappa Art Gallery on Kasturba Road. The gallery, recently renovated for Rs 10 crore, reportedly had humidity and ventilation issues. Additionally, there was waterlogging in the vicinity. 

Eight of these paintings have now been sent to Indian National Trust for Art and Cultural Heritage (INTACH) for restoration. A few are about a century old and feature Ooty landscapes, among Venkatappa’s most significant works.

According to Nitin Kumar, director, INTACH Conservation Institute, Bengaluru, fungal infestation during the rains is common worldwide. “Bengaluru has cool, damp weather for nearly nine months a year,” he says, noting that this monsoon alone, his institute received seven fungus-infected paintings from private galleries in addition to the Venkatappa works.

He says the damage in the Venkatappa paintings appears “medium to low”, though a full assessment is pending. The restoration will take up to 25 days and will require special conservation materials to be imported. The process will include reducing surface moisture, dry-cleaning fungal spots with specialised vacuum tools, and applying chemical treatments like fumigation to eliminate spores. The works will then be monitored for 15 days to check for regrowth before further treatment. He says no treatment is “permanent for organic works”. “This may protect the works for five years,” he says. Radiation, though effective, is generally avoided as it can alter the chemical structure of materials.

Beyond the technical challenges lies a health risk. “We don’t know the fungal type yet. Strains, like the Aspergillus, can enter the body if inhaled. The fatality rate can be as high as 90%,” he warns.

Agents of deterioration

Experts say preventive conservation is central to museum practice. It is a non-interventionist approach of creating an artificial environment and taking cautionary measures to prevent deterioration, says Vijayashree C S, curator, Karnataka Chitrakala Parishath Museum, Kumarakrupa Road. 

Artworks made from organic materials like paper, textiles and leather are especially vulnerable. “Biodeterioration, such as fungal or termite attacks, if not addressed in time, can spread or even lie dormant and return when conditions become conducive again,” explains Rajeev Choudhary, head of conservation, Museum of Art & Photography, Kasturba Road. 

As standard practice, galleries instal data loggers to track temperature and humidity. “The ideal temperature is 18-22°C, with 21-22°C being the sweet spot. Humidity should stay below 50%,” says Preema John, museum director, Indian Music Experience, J P Nagar. Where humidity can warp paintings, blur ink and encourage fungus, overly dry conditions can cause cracking in oil works. Some spaces instal HVAC systems to control humidity and temperature, and build in cross-ventilation if they can’t afford continuous air conditioning, says Choudhary.

Lighting is also regulated so materials don’t become brittle. Spotlights are kept gentle, UV-filtered glass blocks harmful rays, and works such as leather are kept away from direct sunlight.

Placement is another factor. “Artworks aren’t mounted directly on load-bearing walls exposed to rain. We prefer partition walls, columns, or faux walls,” says Choudhary. Security is equally considered. High-value works are kept away from windows, and masterpieces such as the ‘Mona Lisa’ are displayed behind protective glass. Crowd-pullers like a rare Buddha relic at New Delhi’s National Museum are exhibited alone on an entire floor to prevent overcrowding, says Vijayashree.

Routine monitoring is key. Preema’s team closely observes all their exhibits weekly, and cleans the musical instruments once in a fortnight. With fragile objects like old music instruments and textiles, frequent handling itself can be risky, she notes. If there are signs of damage, conservators are brought in to examine, or items are sent for remediation.

Travelling exhibits undergo strict checks. The lender provides a report on the current condition of artworks, and the host shares a facilities report. Only when both parties are satisfied that artworks and the space it will be housed in are compatible, is a collection cleared for transport.

Evacuation routes

A vast majority of art collections lie in storage. The store room is never planned in basements to avoid flooding. For the same reason, it is not stacked directly on the floor. The works are kept on racks away from walls to avoid seepage risk. Pest control and a strict no-inflammables policy are standard. Masks are compulsory as sneezing can damage old photos, and fingers can leave marks.

Every museum must have an exit protocol to evacuate artworks in case of fire or other disaster, says Vijayashree. 

Despite best efforts, deterioration sets in, and conservators, few in number in India, step in. Restoration is a specialised and expensive process. “Restoring a painting requires precision and artistry. Textiles additionally need weaving expertise,” points out Preema. Choudhary notes that fading in textiles cannot be reversed, unlike dust on paintings. Conservation is also becoming more complex as more artists are now experimenting with mixed media, adds Vijayashree.