As an artist who specializes in acrylic impressionism, maintaining the longevity and quality of my work is just as important as creating it. If you’re here, you know my name is Rob Medley—not to be confused with Robert Medley, the English painter (you can find more about him here). I’ve been painting since 2014, and each piece tells a story that I hope endures long after the paint dries. One important aspect of that endurance is proper care and cleaning, especially for unsold pieces that travel with me to various exhibitions and outdoor events.
Cleaning Acrylic Paintings
Outdoor art fairs are fantastic for connecting with art lovers, but they present a unique challenge: dust. Dust, dirt, and environmental grime inevitably cling to the surface of acrylic paintings. To maintain their vibrancy and preserve their value, I clean my unsold paintings at least once a year. The process is delicate but straightforward. Using a soft, dry microfiber cloth, I gently remove dust from the surface. In some cases, a slightly damp cloth can be used for stubborn spots, but caution is key—too much moisture can damage the paint.
Inspecting for Damage
Another part of my annual maintenance is inspecting each painting for damage. These works travel with me across the country, which means they endure a fair amount of handling and environmental exposure. Occasionally, I find areas that need minor touch-ups—usually on the surface of the canvas itself. However, one area I generally avoid touching up is the sides of the canvas.
Acrylic paint, while durable, can still be susceptible to surface scuffs or dulling if handled improperly. Of note, all paintings up to the present are covered with Kamar Varnish, so they are fairly well protected from water. However, with wind, temperature changes during the fair hours, moisture overnight, etc., sometimes cracks in the varnish can occur. Usually, these are not structural, but when I think they are serious, I will patch the back with a piece of canvas to strengthen the area. I do the same thing if a canvas is damaged, which is rare but can happen with transporting originals back and forth across the country. I’m experimenting with painting small scenes on the patch to make up for any damage of a particular work, but as of this post, that has not yet happened.
The Unpainted Sides as an Identifier
Leaving the sides untouched is something I do deliberately. I view these raw edges as an identifier of my work, a signature feature that may help collectors and future conservators recognize one of my pieces. That said, I strongly encourage collectors to frame my paintings to ensure their long-term preservation and to prevent damage to these edges.
A Nod to Vermeer and the Appreciation of Art
When I think about the long-term value of my work, I’m reminded of Johannes Vermeer, one of my greatest inspirations. Vermeer, who is celebrated for his mastery of light, died in relative obscurity. At the time of his death, his paintings were worth about 1,300 guilders, which would have been considered modest for an artist of his skill. However, over the past 375 years, the value of his work has appreciated at an average annual rate of 6%.
For instance, let’s consider one of my paintings priced at $400. While I approach this subject with humility, I think it’s fascinating to explore what could happen over time. If we apply the same 6% annual appreciation to one of my paintings over 375 years, the math would look something like this:
Starting value: $400
Annual appreciation rate: 6%
Time period: 375 years
The formula for compound interest can be used here:
A = P(1 + r/n)^(nt), where:
- A is the amount of money accumulated after n years, including interest.
- P is the principal amount ($400 in this case).
- r is the annual interest rate (6% or 0.06).
- n is the number of times the interest is compounded per year (1 for simplicity).
- t is the time the money is invested or appreciated (375 years).
Let’s run those numbers and see the result:
Calculating the final value…
If one of my $400 paintings were to appreciate at the same 6% annual rate for 375 years, the value would theoretically grow to over $1.23 trillion. Of course, I approach this calculation with a sense of humor and modesty—there’s less than a 1% chance of that happening, but it’s interesting to contemplate the long-term value of art, especially when you consider how Vermeer’s legacy evolved.
Ultimately, while I may never reach the legendary status of Vermeer, I clean and preserve my work with the hope that it will continue to bring joy to collectors and art enthusiasts, potentially increasing in value over time.
By taking care of your art—whether through cleaning, touch-ups, or framing—you not only preserve the piece but also contribute to its potential appreciation in value. And who knows? Maybe one day, one of my pieces will be a modest part of art history.