Caring for art in a Mediterranean climate
The three risks to a work of art in a Mediterranean home are ultraviolet light, humidity swings and salt air, and they are managed by controlling where the piece hangs, keeping relative humidity between forty five and sixty per cent, and using protective glazing.
gelisted editorial team · Updated 15 August 2026
The short version
- Target relative humidity is 45 to 60 per cent.
- Direct sunlight fades pigments and paper irreversibly.
- Museum glass filters most ultraviolet radiation.
- Never hang works on an exterior wall prone to condensation.
A work bought for 3,000 € and hung opposite a south facing window loses more value in five summers than it would gain in twenty years.
Light
Ultraviolet radiation breaks down pigments and degrades paper, and the damage is cumulative and irreversible. Direct sunlight is the worst case, but strong reflected light also does harm over years. Works on paper, watercolours and photographs are the most sensitive; oil on canvas resists better but is not immune. No wall opposite a large window without shading is a good place for anything.
| Factor | Target | Risk if ignored |
|---|---|---|
| Relative humidity | 45 to 60 % | mould or cracking |
| Temperature | 18 to 24 °C | expansion and contraction |
| Direct sunlight | none | irreversible fading |
| Museum glass | filters most UV | 150 to 500 € per frame |
| Distance from exterior wall | use a spacer | condensation |
| Salt air | avoid open sea facing rooms | corrosion of fixings |
| Annual check | behind the frame | early detection |
Humidity
The island runs above 70 per cent relative humidity for long stretches, and a closed house in winter holds it higher still. Above 65 per cent, mould develops on paper and on the back of canvases. Below 40 per cent, timber stretchers and panels shrink and paint layers crack. A dehumidifier on a hygrostat holds the range for a few euros a month and is the single most useful device in the room.
Where not to hang
On an exterior wall without a spacer behind the frame, because condensation forms between the wall and the back of the work. Above a radiator or an air conditioning outlet, where the temperature cycles. In a bathroom or directly beside a kitchen. And in a hallway that gets sea breeze through an open door, since salt reaches fixings and mounts even indoors.
Two small cork spacers behind the lower corners of a frame cost almost nothing and solve the condensation problem entirely.
Framing and checking
Museum glass with ultraviolet filtering costs 150 € to 500 € per frame depending on size and is worth it on anything valuable or on paper. Acid free mounts and backing, since ordinary card yellows the work it touches within a few years. And an annual check behind the frame for spotting, insects or a loose mount, which takes 10 minutes and catches problems while they are still cheap to fix.
Frequently asked
+What humidity should I aim for?
Between 45 and 60 per cent relative humidity, held with a dehumidifier on a hygrostat.
+How damaging is sunlight?
Very. Ultraviolet fading of pigments and paper is cumulative and irreversible.
+Is museum glass worth it?
On anything valuable or on paper, yes. It costs 150 € to 500 € per frame and filters most UV.
+Where should I not hang a work?
On an unspaced exterior wall, above a radiator or air outlet, or in a bathroom.
+How often should I check?
Once a year behind the frame, looking for spotting, insects or a loose mount.
Sources
- 1Govern de les Illes Balears, Govern de les Illes Balears (August 2026)
- 2Boletín Oficial del Estado, BOE (August 2026)