- Following 873
- Followers 10.1K
- Engagement 2.96%
- Avg likes 284
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About schilderijrestaurator.nl
schilderijrestaurator.nl (@hanboersma) is an Art Restoration Service creator on Instagram, also filed under Art & DIY. The account has 10,136 followers and 114 published posts. Recent posts average 284 likes and 31 comments, an engagement rate of 2.96%.
With 10.1K followers, schilderijrestaurator.nl is a micro creator by the common 10,000 to 100,000 definition. schilderijrestaurator.nl follows 873 accounts, so the audience is roughly 12 times the size of the list followed. schilderijrestaurator.nl carries Instagram's verified badge and is set up as an Instagram business account. Flinque files schilderijrestaurator.nl under Art Restoration Service, with Art & DIY as a secondary category.
The Instagram bio for schilderijrestaurator.nl runs to 18 words. The latest activity Flinque has on record for schilderijrestaurator.nl dates from January 2026.
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114 Posts
Of the 10 most recent posts shown for schilderijrestaurator.nl, 6 are carousels, 3 are single images and 1 is a video. That mix leans toward carousels. 114 published posts give schilderijrestaurator.nl a moderate archive on Instagram. Against the audience, that is roughly 89 followers for each post published. schilderijrestaurator.nl also keeps 1 story highlight on the profile. 8 of those 10 carry captions, averaging 210 words each. Words that recur across them include painting, varnish, paint, collection and were. The captions tag #leogestel, #jansluijters, #hanboersma, #paintingrestoration and #schilderijrestaurator.
-max €800 p.mnd.
-liefst zelfstandig indien mogelijk
-bij voorkeur in het centrum
-eventueel omgeving Zwolle, Hattem, Kampen…
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This 16th-century oil painting on oak panel was examined and conserved step by step.
From its condition before conservation, through infrared reflectography revealing underdrawing and compositional changes, and ultraviolet fluorescence exposing later retouches and varnish layers, to careful cleaning, retouching and final varnishing.
The aim was to present the painting at the highest possible level.
While certain historical traces inevitably remain, the guiding principle throughout the conservation was the pursuit of perfection — a familiar ambition in conservation, and a reliable source of professional self-doubt.
The result is a stable, visually coherent painting, ready to function once more within a museum context.
Conservation: Han Boersma
With: Michelle Vergeer
This painting grew out of a conversation shortly after my book came out, with one of the Netherlands’ leading painting conservators –, who has worked on important paintings by George Breitner,Jan Sluijters, Dick Ket and also is an #artcollector
After seeing my book, we started wondering what would happen if I pushed one of my landscapes further into abstraction. He said he would be interested in buying such a painting.
Dry the Rain became a large, abstracted waterscape with abstract, as well as realistic plants and branches in the foreground, a small building in the distance and very pale yellow foliage catching the light. Many slow layers of oil paint built up over an acrylic underpainting.
Some of you may recognise fragments from the in-progress details I posted last week.
🖼️Here is the finished work – swipe for details.
#isabellawerkhoven #painting #contemporaryart #landscapepainting
NL: Dry the Rain / 2022–2025 / acryl en olieverf op linnen / 105 × 115 cm / kunstcollectie
Dit schilderij is ontstaan uit een gesprek, vlak nadat mijn boek verscheen, met één van ’s lands beste schilderijrestauratoren Han Boersma, die belangrijke werken onder handen heeft gehad van Breitner, Isaac Israëls, Jan Sluijters, Dick Ket en ook een is.
N.a.v. mijn boek vroegen we ons af wat er zou gebeuren als ik een van mijn landschappen verder richting abstractie zou duwen. Hij zei dat ie geïnteresseerd zou zijn om dat schilderij te kopen.
Zo ontstond Dry the Rain: een grote, geabstraheerde waterpartij met zowel abstracte als realistische planten en takken op de voorgrond, een gebouwtje in de verte en heel lichtgeel gebladerte dat het licht vangt. Veel langzame lagen olieverf over een acryl-onderlaag.
Een aantal van jullie zal misschien details herkennen uit de in-progress fragmenten die ik vorige week deelde.
🖼️ Hier zie je het voltooide werk — swipe voor details.
There have been several moments in art history when painters explicitly did not want their work to be varnished. Impressionists like Monet, and Dutch painters such as Jan Sluijters and in this case, Leo Gestel were very clear about it. They feared varnish would alter the character of their colours, and thus the entire expression of the painting.
Still, many of these works were varnished later on for protective reasons, but more often by art dealers, aiming for richer colours, stronger contrast, and higher prices. Supposedly that’s what the public wanted… but was it?
Either way, varnishing these paintings changed the original visual intent, and that’s a choice worth questioning.
How special is it to come across a painting where the artist explicitly wrote on the back: “Never varnish!”
And even more special: that no one ever did.
That’s when my heart skips a beat. The authenticity radiates from the canvas, the colours still glowing after 112 years. Fragile meets bold, warm plays against cool, and without any glossy reflections, you can admire it from every angle.
Most people assume varnish is always necessary to protect the paint. But I hope to bring a little nuance to that idea.
This is what a painting can look like without varnish.
And honestly? It’s stunning.
Once it’s on view at the Singer Museum in Laren, see if you can look through the lense of this story.
“Flower Still Life”, 1913, collection, going to
#leogestel #jansluijters #monet #impressionism #varnish
The most important step in restoration is conservation: preserving the artwork itself.
In this case, that meant consolidating and flattening more than 70 areas of lifting paint!
Corrosive fly droppings are also part of the preservation story and yes, those were carefully removed too.
When you’re working at this level, small lacunae or aesthetic issues become secondary. Those can always be addressed later, but only if the paint is still there. For now, we’ve made sure nothing will be lost.
A lovely detail: Leo Gestel wrote quite a bit on the back of the canvas, including the clear instruction: “NEVER VARNISH!”
I mentioned something similar before about a painting by Jan Sluijters. This kind of information is essential, as it directly informs our restoration choices and ultimately, the painting’s appearance.
Sadly, over the years, many paintings that were never meant to be varnished were varnished. So this majestic Flower Still Life won’t suffer the same fate, right? Or what do you think?
Varnish tends to deepen colour and contrast, giving a stronger, more saturated look.
But by not varnishing, you preserve the soft tonalities and the painting can be viewed clearly from all angles—no shiny reflections getting in the way.
As a conservator, I’ll always stay true to the artist’s original intent.
But I’m also genuinely curious: what would you choose?
Flower Still Life by Leo Gestel, 1913, collection. The painting will move to, where it will be put on display.
#leogestel #museummore #singerlaren #kunstrestauratie #bloemstilleven
In 2023, Horses on the Dam by G.H. Breitner arrived at my studio from Museum Jan Cunen. The request: could the painting be cleaned? It had become so dark that the scene was barely legible—was it daytime or night?
Early examination revealed old retouches and overpainted areas. UV light exposed even more oddities, but since Breitner often reworked his own paintings, this wasn’t conclusive proof of later interference.
As the varnish and visible retouches were removed, an original head emerged along the left edge—overpainted in a more “beautiful” style. I’ve seen this before with Breitner: expressive heads painted over, perhaps once considered too harsh or mask-like.
More overpaintings followed. A child’s head appeared beneath a heavy, awkward repainting. It didn’t match Breitner’s hand, but hard evidence was lacking. Pigment analysis (RCE) was inconclusive—until we found a 1935 auction photo clearly showing the original child’s head. Later, a second photo from 1947 (thanks to the RKD) showed the painting already altered by then.
With this new information, we could confidently distinguish and remove all later additions—restoring the original composition. Even the horses’ overly elegant noses turned out to be later “improvements.”
The result: a raw, powerful Breitner re-emerged. Congratulations, Museum Jan Cunen—after this restoration, you’ve regained a true and authentic masterpiece.
The full story—full of joyful discoveries, but also the stress of uncertainty—can be heard in the Museum Jan Cunen podcast (nr 11. Het spannende verhaal achter de restauratie van Breitners Paarden op de Dam van Museum Jan Cunen).
#breitner #museumjancunen #hanboersma #paintingrestoration #paintingconservation
This colorful landscape with trees by Jan Sluijters is one of the largest landscapes he created during this period. It dates from the same year (1910) as the well-known luminous ‘October Suns’ in Laren.
Since then, the painting has traveled and, in doing so, has lived. This has resulted in accumulated surface dirt, yellowed varnish, loose paint flakes, losses, and deformations.
All these issues have been addressed in this restoration. Even the stretcher frame had its own life, causing tension along the edges. Therefore, the painting was first removed from its frame to ensure a smooth, even canvas. The stretcher was adjusted to prevent future issues after re-stretching.
How wonderful it was to reintegrate and retouch the missing paint after removing the dirt and yellowed varnish, making all distracting elements disappear.
A true highlight among Jan Sluijters’ landscapes—and certainly one of the highlights in the history of my restoration studio!
Private collection, 105 x 64 cm.
#jansluijters #paintingrestoration #hanboersma #schilderijrestaurator #singermuseumlaren
In order to restore a painting, it is essential to get to know it better. This was certainly true for Self-Portrait with Owl by Jan Mankes, which I treated due to a varnish layer that had begun to chip off, causing damage to the painting, as well as some loose paint flakes.
To better understand the painting and its condition, it was thoroughly photographed. Using normal light, UV fluorescence, and Infrared Reflectography (IRR), the artwork was documented in detail. Thanks to IRR, an interesting discovery was made: a modification in Mankes’ original composition—specifically in his index finger. A fascinating glimpse into his working process!
To safely remove the varnish, tests were conducted to determine its solubility. It turned out that there were two layers: a hard, difficult-to-dissolve final varnish and, underneath, older remnants that were firmly adhered to the paint layer. The fact that Mankes applied his paint in thin layers made the process even more challenging.
The final treatment was carried out entirely under the microscope, layer by layer, piece by piece. With such a small and delicate painting, no risks can be taken. Of course, that should never be the case in restoration 😊. The fact that this was the 27th work by Mankes I had the opportunity to restore certainly helped. With each restoration, my admiration for him and his painting technique continues to grow.
Currently, the self-portrait is on display in the exhibition “Stillness & Struggle” (Verstilling & strijd) a joint exhibition with from January 25 to June 22, 2025.
Zelfportret met uil (1911) by Jan Mankes, collection of Museum Arnhem.
#museumarnhem #museumbelvedereheerenveen #janmankes #schilderijrestaurator #schilderijrestauratie
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schilderijrestaurator.nl's engagement
schilderijrestaurator.nl's engagement rate on Instagram is 2.96%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 34 followers. Comments stay close to likes on schilderijrestaurator.nl's posts, at 284 likes and 31 comments on average, about 9.2 likes per comment.
Engagement rate
2.96%
- Avg likes
- 284
- Avg comments
- 31
- Interactions : followers
- 1 : 34
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Who is schilderijrestaurator.nl?
schilderijrestaurator.nl (@hanboersma) is an Art Restoration Service creator on Instagram, also filed under Art & DIY. schilderijrestaurator.nl carries Instagram's verified badge and is set up as an Instagram business account. The Instagram bio for schilderijrestaurator.nl runs to 18 words.
How many followers does schilderijrestaurator.nl have?
schilderijrestaurator.nl has 10,136 followers on Instagram (10.1K). schilderijrestaurator.nl follows 873 accounts, so the audience is roughly 12 times the size of the list followed. 114 published posts give schilderijrestaurator.nl a moderate archive on Instagram.
What is schilderijrestaurator.nl's engagement rate?
schilderijrestaurator.nl's engagement rate on Instagram is 2.96%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 34 followers. Comments stay close to likes on schilderijrestaurator.nl's posts, at 284 likes and 31 comments on average, about 9.2 likes per comment.
What does schilderijrestaurator.nl post about on Instagram?
Flinque files schilderijrestaurator.nl under Art Restoration Service, with Art & DIY as a secondary category. Of the 10 most recent posts shown for schilderijrestaurator.nl, 6 are carousels, 3 are single images and 1 is a video. The 8 recent Instagram captions Flinque holds for schilderijrestaurator.nl repeatedly use the words painting, varnish, paint, collection and were. schilderijrestaurator.nl's captions carry hashtags such as #leogestel, #jansluijters and #hanboersma. schilderijrestaurator.nl keeps 1 story highlight, which open with a free Flinque account.
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