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Nidhi Art Gallery (Estd. 2003)
Nidhi Art Gallery is for Modern & Contemporary Art in Shatabdi Nagar, Jaipur. Spread over a large area of 4000 sq. ft. Nidhi Art Gallery houses a massive & amazing collection of stunning Canvasses, Watercolours & Graphics by Eminent Artists like Artist Nidhi, Dr Bandil, Dr Agarwal, as well as Emerging Artists showing great promise.
Nidhi Art Gallery is to showcase selective paintings by Indian Master Painters. Lakhs of tourist coming to Jaipur, India can now see a beautiful collection of our Master Painters from India .
Nidhi Art Gallery showcases Contemporary Art by Eminent as well as Emerging Indian Artists. The Gallery has so far successfully sponsored 21 shows & their latest stylized canvasses can always be viewed in the Gallery’s Extensive collection which ranges from Abstract to Semi – Abstract, Surreal to Figurative Art, Landscapes, Portraits, Graphics, Historical in all medium, surface and sizes.
An Exclusive Collection of Art & Novelties which fulfill your satisfaction under one roof. We have a collection of 1000 paintings of modern and traditional paintings. We have a great collection of good and senior artists & all types of modern paintings (oil on canvas, acrylic on canvas, acrylic on paper, etchings, lethos, abstract, modern monuments, landscape, modern figurative). We have a latest collection of modern & abstract paintings. All over Indian artist collection. Hand care is very easy and we roll up also and we send paintings by courier also (UPS. Courier, DHL. Courier). We have arranged a vast collection of glorious paintings (traditional, miniature, tanjore, tiles, marble, realistic, silk, all type of paper work, potrait).
The hub of gemstones and colored stones, Jaipur, is now attracting attention in another way of investmentart. Foreign tourists and art aficionados alike are looking at the art scene of Jaipur which is already known for its miniature paintings and blue pottery. With a rich cultural background, Jaipur is witnessing the confluence of traditional and contemporary art which is being seen as a heavy investment option. The Nidhi Art Gallery, which opened in 2003, has been offering a platform to artists and investors to meet and explore various opportunities together.
Standing tall near Chokhi Dhani, Tonk Road, Jaipur. With an area of 4000 square feet, the gallery draws artists and art lovers from the city to its many exhibitions and workshops held over various seasons of the year.
Nidhi Art Gallery has a large collection of contemporary Indian paintings and Modern art in Oil, Watercolor, Acrylic and Mixed Media by renowned and promising artists from various Indian states like Bengal, Maharashtra, Andhra Pradesh, Gujarat, Kerala, Goa and Rajasthan. The works of many new and promising artists are also exhibited in the gallery.
The gallery also plays host to artists from across the country, who conduct demonstrations, workshops and exhibitions here on various occasions during the year. Group and solo shows of artists from all over India are held in Nidhi Art Gallery every month. Nidhi Art Gallery has also traveled with its show ouside Jaipur where the exhibitions were well received.
The biggest art store in India that specializes in exquisite, fully framed art and paintings. More then 5000 exclusive and rare, high quality original paintings and art work depicting the colorful ethnicity and rich heritage of India is displayed in our showroom.
Note: We also make portraits on order.
Care of Paintings
A typical, traditional oil or acrylic painting is composed of a number of different materials. It may have a canvas support that is secured to a wooden stretcher frame (or strainer) or to a paperboard, or it might have a wood or fiberboard panel support. The support material normally has one or more “preparation” layers applied to its surface before the various paint layers are applied. Often, varnish is applied to the finished paint surface. The painting may be framed or the artist may intentionally have left it unframed. Each material in a painting will have its own physical reaction to handling and environmental conditions. Each material will also contribute, to a greater or lesser degree depending on the circumstances, to the overall condition of the painting.
This general overview does not attempt to discuss all materials, environmental conditions or damages to paintings, nor all actions that could prevent damage. Paintings on other support materials not covered in this article (for example, various boards, metal, ivory, etc.) may require other considerations and solutions than are offered here.
Artworks on paper supports, created using materials such as watercolors, pastels, charcoal or ink, are covered in “How to Care for Works of Art on Paper”.
Types of Damage
The damage or deterioration found on paintings displayed in our homes is usually seen as cracks in the paint, weak or distorted canvas, torn canvas, cracked or split wood, loose or missing paint, or a discolored, darkened or faded surface. These can result from a number of factors such as handling or accident, inappropriate levels, or changes in levels, of relative humidity and temperature (especially if the changes occur quickly or frequently), direct sunlight, the accumulative effect of natural or artificial light and inappropriate or inadequate framing. Sometimes damage can result from an artist’s particular use or mix of materials.
Preventing Damage
There are a few things you can do to avoid or reduce some types of damage in a painting.
Handling and Moving
Handling is a major cause of damage to artworks. Before handling a painting, give it at least a cursory examination to see if it can be moved safely, without damage. Each handling increases the chance of accident, and moving a painting to a new location can have detrimental effects due to a change in environment. Paintings are especially susceptible to cracking when they are in a dry environment (for example, in a dry attic or in a heated household in a northern winter) or when exposed to cool-to-cold air. Do not transport a painting in an unheated vehicle in cold weather. It is best to transport a painting when the temperature and relative humidity are likely to be more moderate, which, in a northern climate, is usually in spring or autumn.
When it becomes necessary to handle or move a painting, avoid touching the paint surface or the back of the canvas. Do not apply any kind of pressure (even finger pressure) to the back of a canvas -- cracks in the paint will likely develop after a time. Regardless of when or by whom a painting is transported, the painting’s wrapping or package should be:
• moisture and water resistant;
• wrapped and sealed in such a way to guard against changes in relative humidity;
• puncture and dent resistant, both front and back;
• cushioned against possible shock from bumps or drops during handling and transport; and
• insulated against cold or extreme heat and against quick changes in temperature.
Backing Board
Once you have acquired a painting on canvas, a good first protection measure is to attach a rigid backing, such as a corrugated/fluted plastic sheet, to it. Do this by screwing the backing material onto the back of the stretcher. This may be one of the most beneficial things you can do for your painting. This backing will serve several purposes. It will help reduce the effect of rapid changes in relative humidity around the painting, while providing some physical protection from pressure or direct contact against the canvas back, and will reduce vibration caused by handling or moving. The procedure of attaching this backing can be damaging to the paint surface if not done correctly. Please contact CCI for directions and advice. CCI Notes 10/10 gives detailed information and instructions on backings.
Framing
A frame is not only an aesthetic part of a painting, it also helps protect the more vulnerable parts of a painting from direct handling. It also provides some rigidity that helps reduce damage if the painting is accidentally dropped. An original frame may have value in its own right. Frames should not be discarded or altered without careful consideration.
Your painting will probably already be framed. If not, and if it is meant to be framed, obtain a suitable frame that will hold the painting securely, but not too tightly. The painting will need a bit of space to expand and contract slightly due to changes in the environment around it. Do not use nails to secure the painting to the frame. Instead, use metal mending plates that span the gap between painting and frame. Screw the plates into the frame only, not into the stretcher or strainer. If glazing (glass or acrylic) is used in a frame, it should not touch the paint surface. The frame can be fitted with a spacer to hold the glazing away from the image. The rabbet edge of the frame, the surface on which the painting edges rest, should be padded to prevent abrasion to the paint. See CCI Notes 10/8 for detailed information and instructions on framing. If a painting is not meant to be framed, the painting is more vulnerable to damage. Take extra care in handling and make sure hands are clean in order to prevent fingerprints and natural oils from being deposited on a painting’s edges.
Display and Storage
When considering a location to display artwork, determine if the object will be in harm’s way. Is it a location where the painting might be prone to physical damage? Is it a busy hallway? Do people touch this wall or lean against it? Is the location in an area affected by splatters from beverages or foodstuffs, or by misting and watering nearby plants?
Try to display your paintings in a place where the relative humidity and temperature levels are fairly constant, not very high (above 60%) or low (below 40%), and where the levels do not change quickly. Rapid environmental changes will occur in locations near an open door or window, or in locations directly affected by the airflow from heating and cooling ducts or radiators. The space above a fireplace is normally a display place of honour, but it is not the best choice. The environment at the chimney can fluctuate. It can become hot, very dry from the heat and somewhat sooty as a result of using the fireplace. Mount paintings only against outside walls that have a good vapour-barrier and insulation. Secure paintings to walls using picture hanging hooks of the appropriate size for the weight of the painting. Hooks are more reliable and do less damage to walls than nails. Using two hooks per painting makes it easier to hang the painting straight and keep it level.
Avoid storing paintings in a damp basement or a dry attic. A better choice is to keep each painting protectively wrapped (and securely sandwiched between two pieces of rigid sheet material, for example, cardboard or corrugated plastic, to protect them from touching nearby objects) and stored vertically in a closet in a more central area of the house.
Daylight is very high in radiation that is damaging to paintings. Totally avoid this exposure if possible. Watch that there is never any direct sunlight on paintings at any point during the day. Indirect or reflected daylight is better than direct; the further away from the painting, the better. Even “normal” natural or artificial light levels for prolonged periods will cause fading. Directing lights at the painting can cause damaging hot or warm spots on the paint surface. As a general rule, display your more valued artworks in areas that receive less direct or prolonged light. Fading or colour change can go unnoticed for a while, but over time it may become quite noticeable. Light damage cannot be reversed.
The paint surface will, over time, accumulate dust and pollutants, airborne grime from cooking oils, particles from smoking and insect “specks”. If displayed in a dining room, a painting may receive accidental splatter. In this case, it may be best to protect a painting by giving it a better location or by using a glass or acrylic sheet in the frame to shield the paint. CCI Notes 10/3 and 10/4 give detailed information on storage and display and on environmental guidelines.
Cleaning
Some simple cleaning tips that can be followed at home
Like other objects, artworks will collect dust and dirt over time. Dust can be removed using a very soft brush. Avoid feather and sheep skin dusters as their fibers attach to the surface. Check for flaking paint before dusting, and do not attempt to dust if the surface appears damaged ot unstable. It is also important to clean the verso of the artwork in a similar manner; however the artwork should be removed from display and laid flat on a clean surface to do this. Do not attempt any repair yourself. This is a process that should only be carried out by fully qualified, professional conservators
PAPER CONSERVATION
Works of art on paper include a range of items: watercolour paintings, prints, posters, and drawings, including your child's artwork. There are a variety of media used: watercolour, charcoal, pastels, coloured inks, graphite or pencil, and even crayons and markers.
Whether these works of art adorn your walls or are stored away, it is important to take basic precautions to preserve them. Doing so will not only prolong your enjoyment of them, but will also help ensure their longevity.
Damage and how to prevent it
Paper is made from fibrous material, such as rags, straw, bark, or wood. All these fibre types contain cellulose, the basic component of paper. In general, plant types that yield the highest cellulose content and the fewest impurities make the best quality paper. All paper, however, is vulnerable to damage from a variety of sources.
Handling is probably the most common cause of damage. Paper is easily torn, creased, or stained. The best handling method is to handle paper as little as possible. To prevent damage from oils and salts on hands, it is advisable to wear white cotton gloves. When lifting your artwork, slide a stiff paper or matboard below it before moving it. Avoid eating, drinking, or smoking near the paper and keep pens and markers away.
Exposure to light (natural as well as artificial) causes colours to fade and the paper to discolour and, in some cases, become brittle. Works of art on paper, are susceptible to fading. Light damage cannot be reversed. Avoid hanging your artwork where it may be exposed to sunlight from windows or skylights. Use curtains, blinds, or shutters in rooms where you hang your artwork. Consider framing artwork behind glazing material (glass or plastic) that filters ultraviolet light.
Also avoid displaying or storing your works of art on paper in either basements or attics where temperatures and humidity levels fluctuate. Paper absorbs moisture quickly. High relative humidity causes paper to swell and expand. The paper will appear wavy or, in the worst cases, wrinkled. When works on paper are exposed to prolonged periods of high relative humidity, they are vulnerable to increased rates of chemical degradation and to mould growth. Certain conditions, such as foxing (reddish brown spots on the surface of the paper), may become more pronounced. Low and fluctuating levels of relative humidity may be harmful to vulnerable media. Archival-quality matting, framing, and protective enclosures will protect works on paper from the effects of increased relative humidity for a short period of time.
Heat speeds up chemical reactions that lead to the degradation of paper. Avoid spotlights, and hang prints and drawing away from radiators or heating ducts.
Paper is absorbent, taking in any liquid or gas that surrounds it. Air pollutants are sources of acidity and will have a negative effect on paper and pigments. Acids from outside sources, such as poor-quality framing materials, can migrate to paper, leading to its discoloration and degradation. Paper is also harmed by contact with glue, rubber cement, pressure-sensitive tape, and masking tape. Paper clips can leave rust marks and self-adhesive, removable paper notes leave a bit of residue on the surface that can attract dirt and grime. Avoid materials that are sources of contaminants.
Some artworks are composed of materials that, due to their chemical composition, are inherently unstable and will degrade rapidly. Conservators refer to this as "inherent vice." Wood-based papers and iron gall ink are two examples of materials with inherent vice. Wood-pulp paper degrades because of lignin, a component of the woody tissue of plants. It forms acidic compounds that break down paper fibres. Iron gall ink is made from oak galls and ferrous sulphate that, over time, emits sulphuric acid and destroys the paper on which the ink is printed. Storage or display in low temperature and relative humidity may reduce the rate of degradation.
Certain insects and rodents like to feed on paper. The most common insect enemies of paper are silverfish, book lice, and bookworms. They are attracted not only to the paper but also to certain media such as pastels. If the surface of your artwork looks abraded, it is likely you will find evidence of silverfish. Occasionally, squashed insect bodies may be found on the surface of the paper or in the frame itself. Insects prefer a cool, dark, moist environment, which is another reason you should avoid storing works of art on paper in either basements or attics. The best defence against these pests is good housekeeping.
Matting and storage
Matting provides both support and protection for works of art on paper. Window mats offer space between the image and the glazing in a frame. Use four-ply archival matboard (acid-free or buffered). Japanese paper hinges are recommended for attaching the artwork to the matboard. Small to medium size works of art need only two "T"- shaped hinges at the top. Avoid using glue or tape to attach the hinges to the artwork.
Some unframed artwork on paper can be stored in acid-free paper folders. If acid-free protective enclosures are not possible, the artwork may be interleaved with acid-free tissue. Cut acid-free tissue to fit the inside dimension of the storage container and place a sheet between each piece of art.
Pastel, chalk, or charcoal artworks in good condition should be matted and framed. These works can be stored horizontally on shelves or in drawers. Do not use Mylar or plastic folders, sleeves, or protective slip sheets on artworks with media that could be easily crumbled or rubbed off. A static charge can build up that may lead to the charcoal or pastel being "pulled" from the surface.
Archival storage boxes are available in acid-free lightweight card stock with reinforced corners. Professionals often use what is known as a Solander box. Made with a plywood frame, these boxes have acid-free archival boxboard tops, bottoms, and shoulders. They are covered in cloth, lined throughout with acid-free paper, and incorporate a polythene barrier between the plywood frame and the acid-free shoulder. Avoid using everyday cardboard boxes for storage — these are made from wood pulp and, because they are acidic, may damage the artwork.
Cleaning and repairs
Cleaning and repairs are best left to a paper conservator. It is far too easy to damage works of art on paper through inexpert treatment. If your artwork has signs of mould, consult a paper conservator. Mould not only poses a hazard to the art, but it can also be very harmful to people
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