Female Voices in Art: Lydia Vincent, Picture Restorer
"I think that there is still some way to go before we see parity. I’d particularly like to see an end to unpaid internships, as the system disadvantages lower income applicants, and often disproportionately affects women at the very start of their careers."
Lydia Eileen Vincent ( n ée Kennard) (b. 1981, Wiltshire, UK) is a Picture Restorer in Kew Gardens, London. She specialises in Old Master Oil Painting Restoration and Conservation. Her training began in Florence, Italy, where she studied classical art techniques and then went on to study History of Art at East Anglia University. Over the years she has worked as a Gallery assistant in London for West End Galleries specialising in a variety of genres such as Old Master Pictures, Pre-Raphaelite and Contemporary. During this time she gained an apprenticeship to train under renowned London-based Master Picture Restorer Henry Gentle in 2004, and since completing this prestigious training, has continued to work with Henry to the present day.
Could you tell us something about your role in the art world?
My role in the art world is to preserve our artistic heritage through the restoration and conservation of important and significant works of art. Within my role as a Fine Art Restorer I support galleries, private collections, individuals and Museums across the world.
What did you enjoy about being a part of this project?
It was an exciting opportunity to be part of this powerful artistic project, championing women’s contribution and importance in the art world. It was an unusual and enjoyable experience to be the subject of a picture, instead of my more anonymous role behind the easel. Through Carla I felt empowered, and visible in a way I’ve not experienced before.
Do you have a favourite artist?
This is a tough one – I work with and am inspired by so many artists, it’s impossible for me to single any one out. Some of my favourites include sketches, both drawing and painting, by Old Masters such as Leonardo de Vinci and Van Dyck. Since childhood I have felt particularly drawn to the Pre Raphaelite Brotherhood, particularly Leighton, Rossetti and Waterhouse.
What is your earliest memory involving art?
Sitting in my dad’s art materials and picture framers’ business, drawing and painting on paper bags on the floor.
Do you have any special thoughts about the position of women in the art world?
I think women can and should have a powerful voice within the art world. Sadly, apart from a few notable exceptions, I think that there is still some way to go before we see parity. I’d particularly like to see an end to unpaid internships, as the system disadvantages lower income applicants, and often disproportionately affects women at the very start of their careers.
What are you wearing, and is there a story behind it?
I chose to wear my favourite high-necked long-sleeved black dress, with close-fitting cuffs, and I am holding the paint brushes that I use every day (Windsor and Newton, Series 7 sable, No.1). In my left hand I am holding my Maalstick, which I use during the course of my work to steady my painting hand while I work on wet paintings to prevent touching the surface. My black outfit minimises the light reflection onto the surface of the paintings as I restore them, and also the sleeves don’t drag into solvents or across the paint that I have mixed on my palette; I have found that this is my secret weapon!
What impact has the current health crisis on your daily practice?
The impact has been significant, and may be so for some time yet. Currently, I am furloughed for the duration of the pandemic. I continue my own artistic projects at home. I am now an advanced responder for the NHS and the Royal Voluntary Service in addition to some other voluntary roles as a way of supporting my community during this crisis.
Is it changing your views on Art?
I love my vocation, and I appreciate the last 16 years all the more now that the pandemic is changing the art world in unforeseen ways. The future is uncertain and my role within it may have to change, however, I believe that restoration and conservation will continue to be a valuable and essential part of preserving and protecting our artistic and cultural heritage for future generations.
Are you creating new initiatives and ways of working?
Yes, I currently have a building project for a purpose built studio which will enable me to work from home so that I can continue to restore paintings remotely. I will also be able to work on larger artistic projects of my own. There are new collaborative projects that are beginning to emerge within my artistic sphere and beyond. I am an advocate for promoting the talent and value that women bring to the art world, and seek to support my peers and create a safe space where people can thrive and learn from each other.
