Art conservation is a bridge between past and present, allowing history’s narratives to endure for future generations. One such story recently unfolded at The Conservation Center, where a 1926 sketch by Diego Rivera, Study for Germination Panel at Chapingo (Tina Modotti), arrived for treatment.
Before treatment.
Tina Modotti (1896–1942) was more than a muse: she was an artist, activist, and photographer whose life intersected with some of the most influential figures of the early 20th century. Born in Italy, she emigrated to the United States as a teenager, working as a seamstress, model, and actress—often cast as the femme fatale. In the early 1920s, she began assisting photographer Edward Weston (1886–1958), developing both a romantic relationship and a deep appreciation for the medium. When the pair moved to Mexico City, they immersed themselves in the city’s thriving bohemian circles, including the likes of Diego Rivera and Frida Kahlo. Though Modotti rejected the title of “artist,” insisting that her goal was to “capture social realities,” her photography became an essential visual record of Mexico’s post-revolutionary mural movement.
Tina Modotti and Frida Kahlo, circa 1928. Courtesy Flickr Creative Commons.
Modotti and Rivera’s relationship was complex—both personal and professional—playing out against the vibrant backdrop of Mexico’s post-revolutionary artistic renaissance. As Rivera’s model and friend, she appeared in several of his murals, embodying the spirit of the era. Germination is one of five murals Modotti appears in for the Abundant Earth at the National Agricultural School in Chapingo, near Texcoco (1926-27).
Abundant Earth, image courtesy of our client
The sketch of Modotti before treatment.
Modotti as pictured in the mural.
When Rivera’s sketch arrived at The Conservation Center, it bore the marks of time. The sheet exhibited age-related discoloration, mat burn, and foxing. The piece had been treated before - it had been lined overall to Japanese tissue and there were areas of previous repair that now appeared "bleached" in comparison to the surrounding areas. There was also an area near the left elbow that had previously been retouched. The frame, though protective, showed abrasions, scratches, and particulate buildup, obscuring the piece’s original vibrancy.
Before treatment.
The treatment process sought to stabilize and repair the artwork while preserving its historical integrity. The piece was meticulously documented through photography. The sheet was then carefully removed from its mat by Lauren Luciano, associate conservator of works on paper, with hinges lifted using methylcellulose poultices and a microspatula. Selective surface cleaning removed accumulated grime, and localized treatments addressed areas of foxing. One of the most delicate aspects of the process involved reintegrating the "bleached" areas to seamlessly blend with the surrounding paper using colored pencil and pastel, ensuring that Rivera’s vision remained intact.
Watch Lauren recolor the sheet:
Through conservation, this study regains its visual and structural integrity, allowing Rivera’s artistry—and Modotti’s enduring presence—to resonate once more. Preserving works like this is not merely about safeguarding the physical piece but about honoring the stories they tell and the legacies they represent.
After treatment.
