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The ‘artist’s intention’ plays an important role in the conservation process of contemporary art. Accordingly, the information on artworks owned by the artist, their bereaved family members, and foundations that have decision-making power is important. The artist’s interview is the kind of data that can clear ‘artist’s intentions’ to ensure reliable conservation treatment can be carried out even after the artist’s death. Therefore, this study attempted to use information from the artist’s interview on the type of wood in the manufacture of the filler required for lifted and separated bark conditions in the conservation process of wooden artwork in the National Museum of Modern and Contemporary Art. While the conservation treatment resulted in the stable preservation of the bark of artwork, an analysis of the wood confirmed that the information in the artist’s interview was not true. Consequently, we suggest that attention must be paid toward the information provided by artist, their bereaved families, etc. Based on the result of this study, this is also expected to help preserve upcoming artworks with similar bark conditions.

Abstract Guard Dog II (1969–1970) by Jean Dubuffet is an artwork that shows the characteristics of the artist's l'hourloupe period (1962–1974). This study revealed the materials and manufacturing techniques used by the artist at the time through material analysis of Guard Dog II, and suggested an appropriate conservation treatment method for the work through a cleaning test. Dust, stains, discoloration, cracks, etc. were observed on the surface of the artwork and stains were particularly severe and discoloration required conservation treatment. Prior to treatment, multiple analytical approaches such as Fourier transform infrared spectroscopy, Raman spectroscopy and gas chromatography/mass spectrometer were applied to identify the materials of the paint layers and confirm the state of the conservation of the artworks. As a result, it was confirmed that polyurethane paint was used in the artwork, and the pigment used for each color was also identified. For the stable conservation treatment of the artwork, the chromaticity, glossiness and workability of the cleaning materials were evaluated, and it was found that isopropyl alcohol and nonionic surfactant were suitable for cleaning. The conservation treatment was performed based on results from the cleaning test, and the artwork was restored cleanly. Since most of the existing research on cleaning methods has been focused on painting, this study contributes to the conservation of sculptures by suggesting cleaning methods suitable for three-dimensional colored objects. Article highlights The materials and production techniques used in Jean Dubuffet, Guard Dog II were confirmed. As cleaning materials for deteriorated artworks, isopropyl alcohol and non-ionic surfactants are effective. Hydrogels are not suitable for this work due to the type and characteristics of the gels.