How to light a gallery or museum
Here light has two opposing duties: to reveal the work with absolute fidelity and, at the same time, not to damage it.
- Maintained illuminance
- 50–300 lx (según obra)
- Glare (UGR)
- ≤ 19 (ideal <12)
- Colour rendering
- > 96 · R9 alto
- Colour temperature
- 3000 K
- Uniformity
- según conservación
Conservation sets the illuminance ceiling: 50 lux for very sensitive materials (paper, textiles, watercolour), 150–200 lux for oil painting and wood, and up to 300 lux for stone, metal or ceramics. LED helps because it emits no UV or IR.
Colour fidelity must be maximal: CRI >96 with a high R9 so that reds and skin tones in a portrait do not go flat. TLCI matters if the room is filmed or photographed.
Glare ruins contemplation: UGR <12 and a well-shielded optic let the visitor look at the artwork, not the source. The luminaire must disappear.
The standard aiming angle is 30° from vertical: enough to model the surface without producing specular reflections on varnish or display cases.
- Use a narrow beam for small pieces and a wall washer for complete planes.
- Keep the same CCT throughout the room: a temperature jump between works exposes the installation.
- Check the level with a lux meter on the artwork itself, not on the floor.
- Provide dimming to adapt levels to temporary exhibitions with different requirements.
