Art is meant to last. 

Unfortunately, some crafts are unable to stand the test of time. A good example of this is the famed Venus de Milo, a beautiful sculpture of the Greek goddess of love and beauty. While many who have encountered the piece know it for its notably missing arms, once upon a time, it was untouched, its arms adorned with jewelry. 

Many paintings are also known for losing its color as time goes on, usually due to the environment affecting and aging the paint. Fortunately, there are artists in the practice of keeping old crafts alive in their original state. One such artist is Anna Maria Luisa Garcia. 

Anna is the president and lead restorer of Bottega di Anna Maria Luisa, an art restoration service that specializes in breathing life to old pieces. Registered as an artisan with the Camera di Commercio, Industria, Agricoltura, e Artigianato (CCIAA) in the Tuscan region, she is an associate member of the British Association of Conservators and Painting Restorers (BACPR) based in London. Anna has worked on conserving paintings, archaeological ceramics, replicating missing parts of sculptures, and working with rare embroidered fabrics for museums, private collectors, and churches. We asked Anna what it takes to lead such an important task of allowing future generations to enjoy art the way it was originally presented.

What are some common challenges you face when working on an art restoration project?

Usually it’s a grapevine referral, so they come smoothly, and because I’ve completed a good number of successful conservation jobs in a span of almost 13 years of practice in the Philippines, it’s not a big drama. Challenges are often cases like when the client is not clear on the service, changes the order or prefers another color, which prolongs (and adds) hours on the job. Sometimes clients want a steep discount. We are a registered studio, we must also pay our taxes. There are projects [that require us to] use materials from overseas, [so we have to pay] gold tax and we must pay overseas tax, both on the supplier’s side and as [the materials] enter the country. The logistics aspect is also a big factor now as costs are higher. Clients must understand this. We include materials in our fees and even include documentation so it’s truly a deal for the customer. We also include diagnosis prior to starting the project, covered by the consultation fee, so the customer can ponder and put time in canvassing. Though from experience, the client upon initial meeting, they hire us because they feel the professional level I operate in. 

What was the most challenging piece you've ever handled?

The most challenging piece I’ve ever handled is every project because each one has a problem to present. So I must solve it. They vary from big full-size Amorsolo portraits, like the First Lady Luz Banzon Magsaysay portrait that has to be carried by four to five persons to be moved from the wall, and it had parts of the frame that were missing so I had to replicate them. Then the application of gold leaf was challenging because it had many curves and engravings. It’s easier if gold is attached to a flat surface. Others were projects where the artwork is already crumbling apart, but I was still able to save it. It even got sold at a local auction for ₱7 million, a collection of Prof. Benito Legarda Jr. 

What is your favorite part of working in art restoration?

I love the part when I do pictoric integration. This is the stage when you do the retoke (touch up) or placing the new paints, retouching it well and correctly and seeing the artwork become cleaner, prettier, and back to mint condition. Even the jewelry and embroidery are better seen or the highlights are more vibrant. I also enjoy it a lot when regional invitations come my way. 

Recently, I was invited by the organizers of the Jakarta Art Fair 2024 to attend the opening where I was exposed to more beautiful Southeast Asian art and other restorers of my caliber who attended the same school in Europe. I also like the part of documentation so that it is clear to clients what happened and (seeing the) transition from bad to perfect and restored condition. Getting the payment is also a motivation for my work because of the hard work placed into the craft, which is truly at the level of medical surgeons. The training overseas is also a long time and when you finally attain that level of being referred by happy clients, it can be rewarding. I make it a point to exceed expectations and give more. We give more than expected and we are always service oriented, even if the wish list is difficult.

Who inspired you to take an interest in art restoration?

I’ve met a few restorers while I was still in my job working as draftsman for architects and I knew I wanted to specialize eventually. (I’m inspired by) the mentors I had in my school in Florence and also (by) one Canadian film that I saw. I was exposed to many museum tours overseas after I graduated by my family. My parents and my grandmother were very supportive that I should pursue my studies in this field, still rarely pursued today in Asia and, in fact, Southeast Asia. We do produce a lot of great art in the region but restorers on a professional level like me are still rare. Thus, I am already immersing in other Southeast Asian markets, especially after Covid-19. 

Sometimes there are stories about hidden paintings or hidden messages being found when restoring an artwork, have you ever encountered anything interesting?

Yes. Each project has a nice story to tell. I can go on non-stop on these but I prefer to keep the privacy of my secretive customers and remain a mysterious personality in this craft. We are more aggressively working to serve a niche market that is getting younger and younger. Even yuppies enjoy art investing and also exploring avenues less served in Asia. It is important to deliver quality service, affordable rates, and a sincere cooperation among my colleagues. Especially now in the ASEAN region because we do need each other and we like to compare notes on how best to improve the craft as professionals in the creative industry.

Anna Maria Luisa Garcia’s art restoration service Bottega di Anna Maria Luisa is located along Esteban Abada St. in Quezon City. Currently, her retail line Art-in-a-Box is available at the Caress Banson Art Gallery in Shangri-la Makati and the Ayala Museum shop. Each box sells for ₱2,200 and contains 10 cards of her artworks, 10 linen envelopes, boxed and wrapped with ribbons for the holiday season. Part of the sales contribute to the programs of Feeding Metro Manila and the advocacies of the Ayala Museum Foundation Inc.