Artworks that contain primarily inorganic materials, like stone and metals without pigments or other light-sensitive issues, can withstand brighter light conditions, and are typically illuminated around 500 lux.
Paintings lie somewhere in the middle of the light sensitivity spectrum. Some pigments such as red lakes, which get their color from organic materials like roots or insects, are prone to fading, while other pigments derived from minerals may hold up better.
Fighting the Light
To prevent overexposure, Getty’s lighting designers tightly control the two types of light found in the galleries: natural light, which contains a significant ultraviolet (UV) component and artificial light. UV, the harmful radiation emitted by the sun, may shine through windows, so most galleries are windowless. A UV-resistant film covers any windows that are present.
Artificial light, such as halogen or LED bulbs, is lowered as needed. Conservators also keep track of how long objects have been on display, and budget the amount of time they are included in an exhibition.
Finally, about those cameras—imagine how much light a work of art could be exposed to if visitors constantly set off their flash day after day, month after month. Requiring visitors to turn off their flash when they take pictures helps minimize the risk of damage.
Just like your skin needs protection from the sun, art needs protection from the light to help avoid visible (and invisible) damage. So next time you find yourself shocked by how dark it is in a gallery, remember that the dim lighting is an important part of balancing preservation and access to the collection, allowing it to be studied and admired for many years to come.
