Skip to Content Menu
Scroll up Back to top of window

Exploring conservation

Since 2010, Bank of America has provided grants to museums in 29 countries for over 100 conservation projects.

View a complete list of grant recipients and explore projects in more detail.

Man at the crossroads

CONSERVATION IN DETAIL for

Museo Diego Rivera Anahuacalli, Mexico City
Diego Rivera (Mexican, 1886–1957)

Museo Diego Rivera Anahuacalli, Mexico City
Diego Rivera (Mexican, 1886–1957)


Mural sketches from El hombre en el cruce de los caminos (Man at the Crossroads), 1933

Through the Art Conservation Project, Diego Rivera’s original mural sketches for El Hombre en el Cruce de los Caminos (Man at the Crossroads) at the Anahuacalli Museum in Mexico City have been preserved.

View conservationMuseo Diego Rivera Anahuacalli, Mexico City Diego Rivera (Mexican, 1886–1957)
Woman in blue

CONSERVATION IN DETAIL for

Museo Nacional Centro de Arte Reina Sofia, Madrid
Pablo Ruiz Picasso (Spanish, 1881–1973)

Museo Nacional Centro de Arte Reina Sofia, Madrid
Pablo Ruiz Picasso (Spanish, 1881–1973)


Woman in Blue (Mujer en azul), c.1901
Oil on canvas 133 x 100 cm (52½" x 39½")

Woman in Blue, painted in 1901 by a young Picasso at the beginning of his Blue Period, is one of the Reina Sofia’s most important and popular works, with approximately two million visitors viewing it every year. Over recent decades, following an earlier restoration procedure involving the liberal application of varnish, Woman in Blue became greener than her intended blue. The contrast between lighter and darker areas consequently seemed more muddied, and the painting lost much of its original drama.

The restoration effort carried out by a team of eight experts in the Reina Sofia’s own conservation studio has been completed, and Woman in Blue is back on public display, allowing visitors to view her in all her former glory. The team carried out close analysis of the painting using the most sophisticated technology, including visible light macro photography, infrared reflectography, UV light and radiography. They removed the layer of varnish in order to reveal the painting’s original colors, also leaving Picasso’s first brushstrokes more clearly visible and more easily appreciated.

View conservationMuseo Nacional Centro de Arte Reina Sofia, Madrid Pablo Ruiz Picasso (Spanish, 1881–1973)
Earle after

CONSERVATION IN DETAIL for

The National Museum of African American History and Culture
Multiple artists

The National Museum of African American History and Culture
Multiple artists


Earle Wilton Richardson (American, 1912 – 1935); Self Portrait, c. 1934; Oil on canvas 22 1/2" × 19 1/2" (57.2 × 49.5 cm)

The National Museum of African American History and Culture (NMAAHC), scheduled to open in the spring of 2016, will be the nineteenth museum of the Smithsonian Institution and the only national museum devoted to documenting African American history and culture.

View conservationThe National Museum of African American History and Culture Multiple artists
Cain slaying abel

CONSERVATION IN DETAIL for

The Courtauld Gallery, London
Peter Paul Rubens (Flemish, 1577–1640)

The Courtauld Gallery, London
Peter Paul Rubens (Flemish, 1577–1640)


Cain Slaying Abel, 1608–1609; Oil on panel 131.2 x 94.2 cm (51-3/4” x 37”)

Cain Slaying Abel entered The Courtauld Gallery in 1978 and is now on view again, fully conserved. Its condition – with warped panels, splitting joins, scratches and an uneven surface with areas of paint loss and yellowed and opaque varnish – had been a long-standing concern. At some point during the nineteenth century, a lattice of wood, known as a cradle, was applied to the reverse of the panel. This was intended to prevent the planks from moving but had caused stress to the panel support and had also attracted woodworm.

View conservationThe Courtauld Gallery, London Peter Paul Rubens (Flemish, 1577–1640)

Important notice:
You are now leaving Bank of America

By clicking Continue, you will be taken to a website that is not affiliated with Bank of America and may offer a different privacy policy and level of security. Bank of America is not responsible for and does not endorse, guarantee or monitor content, availability, viewpoints, products or services that are offered or expressed on other websites.

You can click the Return to Bank of America button now to return to the previous page or you can use the Back button on your browser after you leave.