Use the subheading “congresses” in a Keyword Boolean search for all types of proceedings
icom AND congress* [truncated for singular or plural]
iccrom AND congress*
“canadian conservation institute” AND congress*
"american institute" AND conservation AND congress*
Lacona AND congress* [for lasers in the conservation of artworks series]
textile* AND postprints AND congress*
The Care and Display of Historic Clothing by
Wearable textiles hold their own stories of trade, manufacture and regionalism, just to name a few; they also tell a personal tale of the individuals who created our history. When we look at a piece of clothing, a coat, a dress, an undergarment, we see an item that is more personal, more closely related to the human body than nearly anything else it comes in contact with throughout the day. Garments can do far more for exhibitions and interpretation than merely providing a bit of color and beauty. Clothing is both artistic and utilitarian and is capable of adding so much to the story of who we are and where we came from. The Care and Display of Historic Clothing aims to assist with the full integration of costume collections into the interpretation of the past. Often relied on for their ability to add beauty and color to exhibitions, these collection items provide a very personal side to any story at a given moment in history. The topics explored in this publication range from the care and identification of items in a costume collection to discussions about both physical display and how they can be used to engage audiences. The book's focus is on costume collections and discussion topics will include information in regards to -costume collection storage, -display techniques, -basic identification, and -ideas on how to incorporate costumes into exhibitions and programming. A list of further resources at the back of the book helps provide supplemental, in-depth information on individual areas. The layout of this work will aim to provide information that slowly leads from understanding your costume collection and obtaining physical control to incorporating it in a significant and informative way into the work of the organization. Providing all of these resources in one place will make the incorporation of costumes a more obtainable goal for small to mid-sized museums and historical societies.
Chemicals and Methods for Conservation and Restoration : paintings, textiles, fossils, wood, stones, metals, and glass by
Before the 1970s, most information concerning the conservation and restoration of paintings, wood, and archaeological artefacts were focused on the history of the artefacts, previous attempts of conservation, and the future use of these artefacts. The technical methods of how the restoration and conservation were made were dealt with only very briefly. Today, sophisticated methods of scientific analysis such as DNA are common place, and this encourages conservators and scientists to work together to work out the development of new methods for analysis and conservation of artefacts. This book focuses on the chemicals used for conservation and restoration of various artefacts in artwork and archaeology, as well as special applications of these materials. Also the methods used, both methods for cleaning, conservation and restoration, as well as methods for the analysis of the state of the respective artefacts. Topics include oil paintings, paper conservation, textiles and dyes for them, archaeological wood, fossils, stones, metals and metallic coins, and glasses, including church windows.
Conservation of leather and related materials by
The conservation of skin, leather and related materials is an area that, until now, has had little representation by the written word in book form. Marion Kite and Roy Thomson, of the Leather Conservation Centre, have prepared a text which is both authoritative and comprehensive, including contributions from the leading specialists in their fields, such as Betty Haines, Mary Lou Florian, Ester Cameron and Jim Spriggs. The book covers all aspects of Skin and Leather preservation, from Cuir Bouillie to Bookbindings. There is significant discussion of the technical and chemical elements necessary in conservation, meaning that professional conservators will find the book a vital part of their collection. As part of the Butterworth-Heinemann Black series, the book carries the stamp of approval of the leading figures in the world of Conservation and Museology, and as such it is the only publication available on the topic carrying this immediate mark of authority.
The Conservation of Medieval Polychrome Wood Sculp Ture - History, Theory, Practice by
The first English-language book to comprehensively discuss the history and methodology of conserving medieval polychrome wood sculpture. Medieval polychrome wood sculptures are highly complex objects, bearers of histories that begin with their original carving and adornment and continue through long centuries of repainting, deterioration, restoration, and conservation. Abundantly illustrated, this book is the first in English to offer a comprehensive overview of the conservation of medieval painted wood sculptures for conservators, curators, and others charged with their care. Beginning with an illuminating discussion of the history, techniques, and meanings of these works, it continues with their examination and documentation, including chapters on the identification of both the wooden support and the polychromy itself--the paint layers, metal leaf, and other materials used for these sculptures. The volume also covers the many aspects of treatment: the process of determining the best approach; consolidation and adhesion of paint, ground, and support; overpaint removal and surface cleaning; and compensation. Four case studies on artworks in the collection of The Cloisters in New York, a comprehensive bibliography, and a checklist to aid in documentation complement the text.
The diversity of dyes in history and archaeology by
A compendium of selected papers, presented at the series of conferences on Dyes in History and Archaeology, which show the great diversity of dyeing processes and techniques used over time and in different parts of the world
Gels in the Conservation of Art by
The papers in this publication will be talks at the 3 day Gels in Conservation conference held by IAP in association with Tate. The conference will be a gathering of conservators, conservation and other scientists, and students of conservation to present and discuss the theory and practical use of gels in various branches of conservation (paintings, paper, wall paintings, textiles, museum objects etc).The papers and posters present in this publication cover topics on the theory of Gels, recent developments in Gel technologies, clearance and residues, systematic evaluation of Gel properties and effects, preparation and practical issues with case studies concerning: wall paintings, easel paintings, contemporary art, textiles, archaeological objects, paper, sculpture, mixed media, traditional materials and more.
Museums and Restitution by
This book examines contemporary approaches to restitution from the perspective of museums. It focuses on the ways in which these institutions have been addressing the subject at a regional, national and international level. In particular, it explores contemporary practices and recent claims, and investigates to what extent the question of restitution as an issue of ownership is still at large, or whether museums have found additional ways to conceptualise and practice restitution, by thinking beyond the issue of ownership. The challenges, benefits and drawbacks of recent and current museum practice are explored. At the same time, the book discusses how these museum practices are received , and informed, by source communities, institutional and governmental agendas and visitors' expectations in order to explore issues of authority, collaboration and shared or conflicting values between the different communities involved in the process. This important book will contribute to the developing body of literature that academics, professionals, policy makers and students can refer to in order to understand how restitution has been negotiated, 'materialised', practiced and evaluated within museums.
Organic Chemistry of Museum Objects by
The Organic Chemistry of Museum Objects makes available in a single volume, a survey of the chemical composition, properties and analysis of the whole range of organic materials incorporated into objects and artworks found in museum collections.
The Oxford Handbook of Archaeological Ceramic Analysis by
The Oxford Handbook of Archaeological Ceramic Analysis draws together topics and methodologies essential for the socio-cultural, mineralogical, and geochemical analysis of archaeological ceramic. Ceramic is one of the most complex and ubiquitous archaeomaterials in the archaeological record:it occurs around the world and through time in almost every culture and context, from building materials and technological installations to utilitarian wares and votive figurines. For more than 100 years, archaeologists have used ceramic analysis to answer complex questions about economy,subsistence, technological innovation, social organization, and dating. The volume is structured around the themes "Research design and data analysis", "Foundational concepts", "Evaluating ceramic provenance", "Investigating ceramic manufacture", "Assessing vessel function", and "Dating ceramic assemblages". It provides a common vocabulary and offers practical tools andguidelines for ceramic analysis using techniques and methodologies ranging from network analysis and typology to rehydroxylation dating and inductively coupled plasma mass spectrometry. Each chapter provides the theoretical background and practical guidelines, such as cost and destructiveness ofanalysis, for each technique, as well as detailed case studies illustrating the application and interpretation of analytical data for answering anthropological questions.
Polychrome Sculpture by
In the decades since its initial publication in German in 1978, Polychrome Sculpture has come to be widely regarded as a watershed text on the making and meaning of European medieval and Baroque painted wood sculpture. An early proponent of interdisciplinary research, Johannes Taubert played a pioneering role in combining the rigorous scientific analysis of materials with a fuller understanding of form and function, an approach that has led to the development of technical art history as practiced today. Many of the essays in this volume apply such scientific techniques as microscopic analysis to an art-historical understanding of Romanesque and late Gothic wood sculpture, revealing that, far from serving a merely decorative function, the painted surface of these works was intricately connected to their meaning. The paint layers on the sculptures, for example, which the author spent years documenting through close examination and analysis, were intended to impart a heightened sense of reality to the life-sized sculptures, thereby enhancing the viewer's experience of worship. Taubert believed it was crucial for conservators to understand this context before undertaking any treatments. No other book offers such a focused, subtle, and interdisciplinary examination of the subject as Polychrome Sculpture. This influential work is now available in English for the first time, in a meticulous translation enhanced and updated by new color illustrations, annotations to the original text, and a new introduction.
Preventive Conservation in Museums by
Explains the diverse literature and ideas of preventive conservation; principally for those studying museum studies or engaged in the museum profession.
Scientific Methods and Cultural Heritage by
An entry-level introduction to the methods and rationales of scientific investigation of cultural heritage materials, with emphasis placed on the analytical strategies, modes of operation, and resulting information rather than on technicalities. The extensive and updated reference list should be a useful starting point for further reading.
Volatile Organic Compounds and the Conservation of Inorganic Materials by
Identification, treatment and prevention of Volatile Organic Compounds in museums and galleries Volatile organic compounds (VOCs) are carbon-based molecules which, in museums and galleries, are often found as indoor pollutants. The result of off-gassing of materials used in the construction of show cases, storage cabinets and containers, and also resulting from methods of exhibit preparation and cleaning, VOCs not only present possible health hazards but can also affect objects in collections. This book focuses on acetic and formic acid often present in wood and wood products, adhesives, sealants, paints, polyester and rubber as well in the outdoor atmosphere. The author's research into this topic took her to various museum collections where she observed and recorded the deleterious effects of these volatile compounds on various inorganic materials, many of which are illustrated in the text. Having identified the sources of the VOCs she discusses appropriate conservation treatments, display and storage materials, and ways of monitoring and mitigating the effects of the local environment. Contents: Chapter 1 Introduction; Chapter 2 Volatile organic compounds and the formation of acetate and formate compounds on inorganic materials; Carboxylic acids; Acetic acid and acetates; Formic acid and formates; Calcareous materials; Non-calcareous materials; Chapter 3 Calcareous materials; Ceramic and unfired clay; Shell; Stone, fossils and minerals; Stucco and plaster; Chapter 4 Non-calcareous materials; Metals; Glass; Chapter 5 Identification, mitigation and conservation; Identification and quantification of pollutants and corrosion/efflorescence; Mitigation; Conservation; Conclusions; Bibliography; Index."
The Artist's Handbook of Materials and Techniques by
Since 1940, when it was originally published, The Artist's Handbook has been indispensable for thousands of practicing artists and art students. The book has remained continuously in print through many editions and has some more than a quarter of a million copies. It is, as American Artist Magazine calls it, the "artist's bible," an invaluable reference for the painter, sculptor, and printmaker. During the past few years, however, new art movements and new research have led to many changes in the technology of artist's materials. With the assistance of Mayer's widow, Bena, and his colleagues, Viking and Steven Sheehan, Director of the Ralph Mayer Center at Yale University, have prepared this latest revision of the book, which is now completely updated and expanded. The Handbook does retain its original, user-friendly format. Mayer intended that this encyclopedic volume be referred to frequently, and he therefore gave specific, practical advice on every aspect of his subject. In addition, he compiled valuable lists for the artist: retail sources for materials, a pigment catalog, a bibliography, and an extensive appendix. And the detailed index makes all of this information immediately accessible.
Art work : conserving and restoring contemporary art by
To speak of "restoration" in relation to contemporary art seems almost oxymoronic. On the one hand, it is commonly assumed that the art produced in our own time is still too new to need conservation. On the other hand, with some artists deliberately seeking change or decay in their art through the use of perishable or unstable materials, the conceptual assumptions and technical practices governing conservation and restoration are being subjected to fascinating new challenges. Mass-produced objects, bread, beans, blood, excrement (human and animal), garbage, seeds, leaves, moving gears, lights and scents are just some of the materials that a restorer of contemporary art has to deal with. These wear out, grow rusty or moldy, fade, ferment, become infested by insects, stall, dry out. Each work of contemporary art is unique and unrepeatable--and consequently so is each intervention made by a conservator. Questions of how to conserve these kinds of artworks--and to what ends--have a critical bearing on how contemporary art is seen and understood. But the peculiarities of restoring contemporary art have received relatively little exploration or theorization outside of the technical conservation literature. Featuring interviews with curators and artists such as Roberto Cuoghi and Massimiliano Gioni, Art Work: Conserving and Restoring Contemporary Art fills this gap, inviting readers to explore how conservation practices are shaping the nature of the contemporary art object.
Chemicals and Methods for Conservation and Restoration : paintings, textiles, fossils, wood, stones, metals, and glass by
Before the 1970s, most information concerning the conservation and restoration of paintings, wood, and archaeological artefacts were focused on the history of the artefacts, previous attempts of conservation, and the future use of these artefacts. The technical methods of how the restoration and conservation were made were dealt with only very briefly. Today, sophisticated methods of scientific analysis such as DNA are common place, and this encourages conservators and scientists to work together to work out the development of new methods for analysis and conservation of artefacts. This book focuses on the chemicals used for conservation and restoration of various artefacts in artwork and archaeology, as well as special applications of these materials. Also the methods used, both methods for cleaning, conservation and restoration, as well as methods for the analysis of the state of the respective artefacts. Topics include oil paintings, paper conservation, textiles and dyes for them, archaeological wood, fossils, stones, metals and metallic coins, and glasses, including church windows.
Cleaning Painted Surfaces by
This book contributes significantly to the selection of appropriate and controllable cleaning methods for varnished and unvarnished paint surfaces. It is a distillation of many years' experience of formulating a cleaning treatment for any given object. The general principles of the chemistry and the practical applications are described. The methods are applicable to the surface cleaning of both traditional and modern paint media found on sculptures, ethnographic materials, paintings, gilded surfaces and furniture. Aqueous methods are certainly worth considering for those surfaces which cannot be cleaned safely by methods based on solvents.
Color : a visual history from Newton to modern color matching guides by
Charts color exploration and expression from the 1600s to the present day through painters' tools, art, ephemera, and literature Throughout history, artists, scientists, and philosophers have attempted to explain and order the visible color spectrum. Color: A Visual History from Newton to Modern Color Matching Guides offers the fascinating history of how color has been recorded, explored, and understood. Using an extraordinary collection of original color material that includes charts, wheels, artists' palettes, and swatches, the book showcases centuries of significant scientific discoveries and artistic exploration. It celebrates the visual quality and beauty of various color theories over time and highlights the creativity of their design and codification. The book showcases everything from fourteenth-century illuminated manuscripts to Moses Harris's The Natural System of Colours (ca. 1769), and from 1814's Werner's Nomenclature of Colours to Paul Klee's color harmonies to highlight the fascinating interactions of science and art. This stunning display of shades, tints, and tones is an authoritative guide for anyone working in the arts, as well as anyone passionate about color in their personal lives, homes, and surroundings.
Color Atlas and Manual of Microscopy for Criminalists, Chemists, and Conservators by
Professionals in many disciplines, from archeology to forensic science and anthropology, must be able to identify organic and inorganic fibers and particles. In a single source, this book presents a range of simple methods to help readers quickly characterize and identify a broad range of materials. Covering substances such as hair and fibers, minerals and soils, paints, drugs, and dust, the book presents the basic principles of microscopy and directions for sample preparation and examination. Most importantly, it offers more than 400 color photomicrographs of the most commonly encountered materials for specimen comparison and rapid identification.
Color Science and the Visual Arts by
"A curator, a paintings conservator, a photographer, and a conservation scientist walk into a bar." What happens next? In lively and accessible prose, color science expert Roy S. Berns helps the reader understand complex color-technology concepts and offers solutions to problems that occur when art is displayed, conserved, imaged, or reproduced. Berns writes for two types of audiences: museum professionals seeking explanations for common color-related issues and students in conservation, museum studies, and art history programs. The seven chapters in the book fall naturally into two sections: fundamentals, covering topics such as spectral measurements, metamerism, and color inconstancy; and applications, where artwork display, painting materials, and color reproduction are discussed. A unique feature of this book is the use of more than 200 images as its main medium of communication, employing color physics, color vision, and imaging science to produce visualizations throughout the pages. An annotated bibliography complements the main text with suggestions for further reading and more in-depth study of particular topics. Engaging, incisive, and absolutely critical for any scholar or student interested in color science, Color Science and the Visual Arts is sure to become a key reference for the entire field.
Colour : The Art and Science of Illuminated Manuscripts by
Of all the early medieval and Renaissance arts--from sculptures, ivories, frescoes, stained glass to easel and wall paintings--it is manuscript illumination, protected between its pages, that has been able to preserve the best evidence for experiencing the dazzling effects that the gold, silver and original glowing colours these objects would have had on earlier spectators. The focus therefore of this exciting and innovative exhibition is on COLOUR: it demonstrates and explains the acquisition and chemistry of pigments, the basic materials and constitution of the artist's colour palette, the technique and art of their application by the illuminator, and finally the understanding and aesthetic impact on the viewer.
Colour Change in Paintings by
Changes in colour may completely alter the way we see a painting. From blue leaves in a still life, to the blue walls in Van Gogh's bedroom, our perception of a painting can be informed by an understanding of these changes. When conserving paintings our comprehension of these alterations can influence the way we display and restore them. The papers in this volume were presented at the ICON paintings Group conference 'Appearance and Reality: Examining Colour Change in Paintings' with the aim of providing an overview of colour change in paintings, from the work of the old masters to modern and contemporary painters. They also address the aesthetic considerations related to these changes when approaching conservation treatments and how understanding these variations can influence the restoration and presentation of paintings.
Conservation Issues in Modern and Contemporary Murals by
This volume is the long-awaited print version of a groundbreaking conference that took place at the Universidad Politecnica de Valencia in 2012, which brought together an international group of artists, conservators, curators, public art managers and scientists to share their experiences with a little-understood specialization: the conservation of wall paintings of the 20th and 21st centuries. The resulting presentations shed new light on a rapidly evolving and innovative aspect of the conservation profession that will be of particular relevance in the future. The book presents eye-opening observations of artists considering the conservation profession for the first time, as well as invaluable research presented by trail-blazing conservation scientists. As such, Conservation Issues in Contemporary Modern Murals, edited by leading professionals in the field, is the definitive work on a previously under-examined specialization of the art conservation profession, and of the creative visual arts.
Conservation of Easel Paintings ; 2nd ed. by
Conservation of Easel Paintings, Second Edition provides a much-anticipated update to the previous edition, which has come to be known internationally as an invaluable and comprehensive text on the history, philosophy and methods of the treatment of easel paintings. Including 49 chapters written by more than 90 respected authors from around the world, this volume offers the necessary background knowledge in technical art history, artists' materials and scientific methods of examination and documentation. Later sections of the book provide information about the varying approaches and methods for treatment and issues of preventive conservation, as well as valuable reflections on storage, shipping, and exhibition. Including exciting developments that have taken place since the last edition was published, the book also covers new techniques of examination, especially MacroXRF scanning and Reflectance Transmission Imagery. Drawing on research presented at recent professional conferences, information about innovative methods for cleaning modern and contemporary paintings and insights into modern oil paints is also included. Incorporating the latest regulations and understanding of health and safety practices and integrating theory with practice throughout, Conservation of Easel Paintings, Second Edition will continue to be an indispensable reference for practicing conservators. It will also be an essential resource for students taking conservation courses around the world.
Gels in the Conservation of Art by
The papers in this publication will be talks at the 3 day Gels in Conservation conference held by IAP in association with Tate. The conference will be a gathering of conservators, conservation and other scientists, and students of conservation to present and discuss the theory and practical use of gels in various branches of conservation (paintings, paper, wall paintings, textiles, museum objects etc).The papers and posters present in this publication cover topics on the theory of Gels, recent developments in Gel technologies, clearance and residues, systematic evaluation of Gel properties and effects, preparation and practical issues with case studies concerning: wall paintings, easel paintings, contemporary art, textiles, archaeological objects, paper, sculpture, mixed media, traditional materials and more.
Materials Science and Engineering : an introduction by
Ninth Edition continues to promote student understanding of the three primary types of materials (metals, ceramics, and polymers) and composites, as well as the relationships that exist between the structural elements of materials and their properties.
Metal Soaps in Art by
This go-to reference work surveys the current state of knowledge in the field of metal soap-related degradation phenomena in art works. It contains detailed descriptions and images of the different phenomena and addresses the practical aspects of soap formation, preventive conservation, and treatment. The occurrence of metal soaps is one of the defining issues in the conservation of painted surfaces, and one that presently leaves innumerable open questions. It is estimated that around 70% of paintings in museum collections are affected by some form of metal soap-related degradation. In recent years, significant advances have been made in the detection and characterization of these compounds through interdisciplinary approaches including conventional spectroscopy and microscopy as well as emerging synchrotron-based techniques. This book for the first time captures a panoramic overview of the state of knowledge of metal soaps related to both scientific analysis and implications for conservation and treatment. It also critically examines open questions. The book is accessible to audiences with varied backgrounds (e.g. conservators, students of conservation science) while simultaneously presenting the technical details indispensable for academics and researchers active in this field.
Museums and Restitution by
This book examines contemporary approaches to restitution from the perspective of museums. It focuses on the ways in which these institutions have been addressing the subject at a regional, national and international level. In particular, it explores contemporary practices and recent claims, and investigates to what extent the question of restitution as an issue of ownership is still at large, or whether museums have found additional ways to conceptualise and practice restitution, by thinking beyond the issue of ownership. The challenges, benefits and drawbacks of recent and current museum practice are explored. At the same time, the book discusses how these museum practices are received , and informed, by source communities, institutional and governmental agendas and visitors' expectations in order to explore issues of authority, collaboration and shared or conflicting values between the different communities involved in the process. This important book will contribute to the developing body of literature that academics, professionals, policy makers and students can refer to in order to understand how restitution has been negotiated, 'materialised', practiced and evaluated within museums.
On Canvas : Preserving the Structure of Paintings by
The first truly comprehensive analysis of the history, practice and conservation of painting on canvas. Throughout its long history in Western art, canvas has played an influential role in the creative process. From the Renaissance development of oil painting on canvas to the pre, and conservation of painting on canvas. esent day--through Impressionism, Abstract Expressionism, and other art historical movements--the use of canvas has enhanced the scale of painting, freedom of brushwork, and spontaneity in technique. This book recounts some of that rich history in relation to corresponding developments in conservation practice. Rather than concentrating on the familiar concerns of cleaning and varnish removal, this volume considers the preservation of a painting's structure. By focusing on recent studies on the fundamental nature of canvas and its mechanisms of deterioration, the book explains new approaches to the conservation of both contemporary and historical art--including reversible, passive, and preventive treatments, particularly with respect to lining. Written by Stephen Hackney, a conservation practitioner and leader in conservation research, On Canvas is the first book to take a comprehensive look at this important subject and is destined to become an invaluable resource for the field.
Paintings in the Laboratory by
This book is a collection of scientific papers written over 30 years by Karin Groen on aspects of the painting of Rembrandt, Frans Hals, Leyster, Vermeer, Van Gogh etc. The author tracks the historical development of the application of scientific techniques in research into artists techniques and materials and examines phenomena such as the changing of green pigments to blue, the use of red in preparatory layers, binding media, blanching and organic pigments. Contents: In memoriam: Karin Groen Introduction: Perspectives on the evolution of science for art history and conservation, and its current state Part I - Grounds and binding media Chapter 1 - Halcyon days for art history Chapter 2 - Grounds in Rembrandt's workshop and in paintings by his contemporaries Chapter 3 - Earth Matters. The origin of the material used for the preparation of the Night Watch and many other canvases in Rembrandt's workshop after 1640 Chapter 4 - In the beginning there was red Chapter 5 - Investigation of the use of the binding medium by Rembrandt. Chemical analysis and theology Part II - Changing colours Chapter 6 - Towards identification of brown discolouration on green paint Chapter 7 - Towards identification of brown discolouration on green paint revisited Chapter 8 - The foliage tends almost to blue Chapter 9 - Scanning electron-microscopy as an aid in the study of blanching Part III - Study of painting techniques Chapter 10 - Frans Hals: a technical examination (Co-author: Ella Hendriks) Chapter 11 - Judith Leyster: a technical examination of her work (Co-author: Ella Hendriks) Chapter 12 - Scientific examination of Vermeer's Girl with the Pearl Earring (Co-authors: Inez van der Werf, Klaas Jan van den Berg and Jaap J. Boon) Summary Samenvatting Bibliography Acknowlegdements
The Picture So Far by
The conference papers in this volume look back over the people, places and occurrences which shaped the first 50 years of painting conservation practice and development - particularly in the UK and the USA. Thirteen authors reflect on a variety of topics including: the historic and on-going debates surrounding the notion of patina; the influence of science and technology on conservation practice; developments in aqueous cleaning methods; the importance of archives, oral history and film, and the role of replicas.The texts in this volume were presented at the BAPCR conference: Paintings Conservation: The Picture so Far on September 2013
Polychrome Sculpture by
In the decades since its initial publication in German in 1978, Polychrome Sculpture has come to be widely regarded as a watershed text on the making and meaning of European medieval and Baroque painted wood sculpture. An early proponent of interdisciplinary research, Johannes Taubert played a pioneering role in combining the rigorous scientific analysis of materials with a fuller understanding of form and function, an approach that has led to the development of technical art history as practiced today. Many of the essays in this volume apply such scientific techniques as microscopic analysis to an art-historical understanding of Romanesque and late Gothic wood sculpture, revealing that, far from serving a merely decorative function, the painted surface of these works was intricately connected to their meaning. The paint layers on the sculptures, for example, which the author spent years documenting through close examination and analysis, were intended to impart a heightened sense of reality to the life-sized sculptures, thereby enhancing the viewer's experience of worship. Taubert believed it was crucial for conservators to understand this context before undertaking any treatments. No other book offers such a focused, subtle, and interdisciplinary examination of the subject as Polychrome Sculpture. This influential work is now available in English for the first time, in a meticulous translation enhanced and updated by new color illustrations, annotations to the original text, and a new introduction.
Science and art : the painted surface
Science and art are increasingly interconnected in the activities of the study and conservation of works of art. Science plays a key role in cultural heritage, from developing new analytical techniques for studying the art, to investigating new ways of preserving the materials for the future. For example, high resolution multispectral examination of paintings allows art historians to view underdrawings barely visible before, while the use of non-invasive and micro-sampling analytical techniques allow scientists to identify pigments and binders that help art conservators in their work. It also allows curators to understand more about how the artwork was originally painted. Through a series of case studies written by scientists together with art historians, archaeologists and conservators, Science and Art: The Painted Surfacedemonstrates how the cooperation between science and humanities can lead to an increased understanding of the history of art and to better techniques in conservation. The examples used in the book cover paintings from ancient history, Renaissance, modern, and contemporary art, belonging to the artistic expressions of world regions from the Far East to America and Europe. Topics covered include the study of polychrome surfaces from pre-Columbian and medieval manuscripts, the revelation of hidden images below the surface of Van Gogh paintings and conservation of acrylic paints in contemporary art. Presented in an easily readable form for a large audience, the book guides readers into new areas uncovered by the link between science and art. The book features contributions from leading institutions across the globe including the Metropolitan Museum of Art, New York; Art Institute of Chicago; Getty Conservation Institute; Opificio delle Pietre Dure, Firenze; National Gallery of London; Tate Britain; Warsaw Academy of Fine Art and the National Gallery of Denmark as well as a chapter covering the Thangka paintings by Nobel Prize winner Richard Ernst.
Tempera Painting, 1800-1950 : experiment and innovation from the Nazarene movement to abstract art by
The papers and posters in this volume were presented at the conference 'Tempera painting between 1800 and 1950 Experiments and innovations from the Nazarene movement to abstract art held at the Doerner Institut, in cooperation with the Academy of Fine Arts, Munich. They explore the revival of tempera painting between 1800 and 1950 from the perspectives of art history, technical art history, conservation and scientific analysis.
The Care of Prints and Drawings by
The 2nd edition of The Care of Prints and Drawings provides practical, straightforward advice to those responsible for the preservation of works on paper, ranging from curators, facility managers, conservators, registrars, collection care specialists, private collectors, artists, or students of museum studies, visual arts, art history, or conservation. A greater emphasis is placed on preventive conservation, a trend among collecting institutions, which reflects the growing recognition that scarce resources are best expended on preventing deterioration, rather than on less effective measures of reversing it. Expanded and richly illustrated chapters include: .Supports for Prints and Drawings discusses the properties of parchment and paper and introduces the general preservation needs and conservation problems of all works on paper, regardless of their media. .Conservation Problems Related to the Paper Support of Prints and Drawings presents a guide to recognizing the symptoms and diagnosing the causes of damage specific to paper. .Conservation Problems Related to the Materials and Techniques of Prints describes the conservation problems that affect certain printmaking materials and arise from specific processes. .Conservation Problems Related to the Materials and Techniques of Drawings focuses on the various materials used to create marks on paper. .Item-Level Collection Protection: Envelopes, Sleeves, Folders, Enclosures, Mats, Boxes, Frames, and Furniture, discusses measures taken for prints and drawings so that they can better withstand the rigors of handling, examination, exhibition, travel, and adverse environmental conditions. .Preventive Conservation for Prints and Drawings describes how the integration of a comprehensive Collections Care Program into a Collections Management Policy can reduce the need for item-level conservation treatments. .Basic Paper Conservation Procedures provides instructions on how to stabilize damaged works. .How to Make Starch Paste and Methyl Cellulose Adhesive and Suppliers of Paper Conservation Materials and Equipment are appended as well as a Glossary."
Colour : The Art and Science of Illuminated Manuscripts by
Of all the early medieval and Renaissance arts--from sculptures, ivories, frescoes, stained glass to easel and wall paintings--it is manuscript illumination, protected between its pages, that has been able to preserve the best evidence for experiencing the dazzling effects that the gold, silver and original glowing colours these objects would have had on earlier spectators. The focus therefore of this exciting and innovative exhibition is on COLOUR: it demonstrates and explains the acquisition and chemistry of pigments, the basic materials and constitution of the artist's colour palette, the technique and art of their application by the illuminator, and finally the understanding and aesthetic impact on the viewer.
Digital restoration from start to finish : how to repair old and damaged photographs by
Digital Restoration: Start to Finish 2nd edition guides you step-by-step through the entire process of restoring old photographs and repairing new ones using Adobe Photoshop, Picture Window, and now Elements. Nothing is left out, from choosing the right hardware and software and getting the photographs into the computer, to getting the finished photo out of the computer and preserving it for posterity. LEARN HOW TO: Scan faded and damaged prints or films Improve snapshots with Shadow/Highlight adjustment Correct uneven exposure Fix color and skin tones quickly with Curves, plug-ins, and Hue/Saturation adjustment layers Correct uneven exposure and do dodging and burning-in with adjustment layers Hand-tint your photographs easily Correct skin tones with airbrush layers Clean up dust and scratches speedily and effectively Repair small and large cracks with masks and filters Eliminate tarnish and silvered-out spots from a photograph in just a few steps Minimize unwanted print surface textures Erase mildew spots Eliminate dots from newspaper photographs Increase sharpness and fine detailand Maximize print quality
European hand papermaking : traditions, tools, and techniques by
In this important and long-awaited book, Timothy Barrett, internationally known authority in hand papermaking and Director of the University of Iowa Center for the Book, offers the first comprehensive “how-to” book about traditional European hand papermaking since Dard Hunter’s renowned reference, Papermaking: The History and Technique of an Ancient Craft.
This book, which includes an appendix on mould and deckle construction by Timothy Moore, is aimed at a variety of audiences: artisans and craftspeople wishing to make paper or to manufacture papermaking tools and equipment, paper and book conservators seeking detailed information about paper-production techniques, and other readers with a desire to understand the intricacies of the craft. European Hand Papermaking is the companion volume to Barrett’s Japanese Papermaking – Traditions, Tools and Techniques.
The first 500 hardcover copies include three paper specimens.
Handbook of paper and board by
Papermaking is a fascinating art and technology. The second edition of this successful 2 volume handbook provides a comprehensive view on the technical, economic, ecologic and social background of paper and board. It has been updated, revised and largely extended in depth and width including the further use of paper and board in converting and printing. A wide knowledge basis is a prerequisite in evaluating and optimizing the whole process chain to ensure efficient paper and board production. The same is true in their application and end use. The book covers a wide range of topics: * Raw materials required for paper and board manufacturing such as fibers, chemical additives and fillers * Processes and machinery applied to prepare the stock and to produce the various paper and board grades including automation and trouble shooting * Paper converting and printing processes, book preservation * The different paper and board grades as well as testing and analysing fiber suspensions, paper and board products, and converted or printed matters * Environmental and energy factors as well as safety aspects. The handbook will provide professionals in the field, e. g. papermakers as well as converters and printers, laymen, students, politicians and other interested people with the most up-to-date and comprehensive information on the state-of- the-art techniques and aspects involved in paper making, converting and printing.
Historical Perspectives in the Conservation of Works of Art on Paper by
This book is the seventh in the Readings in Conservation series, which gathers and publishes texts that have been influential in the development of thinking about the conservation of cultural heritage. The present volume provides a selection of more than ninety-five texts tracing the development of the conservation of works of art on paper. Comprehensive and thorough, the book relates how paper conservation has responded to the changing place of prints and drawings in society. The readings include a remarkable range of historical selections from texts such as Renaissance printmaker Ugo da Carpi's sixteenth-century petition to the Venetian senate on his invention of chiaroscuro, Thomas Churchyard's 1588 essay in verse A Sparke of Frendship and Warme Goodwill, and Robert Bell's 1773 piece Observations Relative to the Manufacture of Paper and Printed Books in the Province of Pennsylvania. These are complemented by influential writings by such figures as A. H. Munsell, Walter Benjamin, and Jacques Derrida, along with a generous representation of recent scholarship. Each reading is introduced by short remarks explaining the rationale for its selection and the principal matters covered, and the book is supplemented with a helpful bibliography. This volume is an indispensable tool for museum curators, conservators, and students and teachers of the conservation of works of art on paper.
Marbled Paper : its history, techniques, and patterns : with special reference to the relationship of marbling to bookbinding in Europe and the western world by
For 250 years after its introduction to Europe around 1600, the method of decorating paper known as marbling reigned supreme as the chief means of embellishing the fine work of hand-bookbinders.Richard J. Wolfe reconstructs the rise and fall of the craft and offers the most comprehensive account available of its history, techniques, and patterns.
Paper and Water : a guide for conservators by
This volume (published by Siegl, Munich) is a revised and expanded edition of the book first published in 2011 by Elsevier-Butterworth-Heinemann.
The text and many illustrations are reworked and the contents of all the chapters revised and expanded to reflect recent research and developments. Important new bibliographic material has been added together with an additional chapter by Ute Henninges and Antje Potthas on the characterisation of paper.
Water is present when paper is made and when it ages. Water also serves many essential functions when deteriorated paper is treated by conservators. Drawing on paper industry and scientific research, Paper and Water examines closely the relationship between this common cellulosic material and water.
The interaction between paper and water is a topic of primary importance for every conservator working with paper objects and other cellulose-based materials. Throughout the book, the theories that underlie the effects of water on paper, and their practical application, are presented in relation to the processes of conservation. Paper and Water is a reference and teaching compendium for conservation professionals involved in the preservation of paper objects in archives, libraries and fine art museums around the world. Written by experts in paper conservation, this book and DVD aim to serve a rapidly expanding profession.
Papermaking : the history and technique of an ancient craft by
The classic work on papermaking, this book traces the craft's history from its invention in China to its introductions in Europe and America. Covers tools and materials; hand moulds, pressing, drying, and sizing, hand- and machine-made paper, watermarking.
Scientific Methods and Cultural Heritage by
An entry-level introduction to the methods and rationales of scientific investigation of cultural heritage materials, with emphasis placed on the analytical strategies, modes of operation, and resulting information rather than on technicalities. The extensive and updated reference list should be a useful starting point for further reading.
Authentic Reconstruction : authenticity, architecture and the built heritage by
Notions of authenticity lie at the heart of many questions about heritage and identity in the built environment. These questions are most pertinent when buildings have been destroyed in disaster or war, and the built fabric is being reconstructed to reinstate traditional or historic appearances in place of what was lost. Authentic Reconstruction examines this idea of reconstruction, using it as a prompt to examine a range of deeper issues on heritage and the built environment. From post-WWII reconstruction programmes through to the rebuilding of historic cultural landscapes lost in natural disasters, this collection of essays by heritage specialists provides a wide range of case-studies and discussions. Each presents responses to crises and lessons learned, in order to extrapolate general guidelines for future actions by politicians, architects and planners in reconstructing buildings. The book also looks beyond disaster and war, noting how authenticity bears on political intentions and image building, exploring how reconstruction is used to tell a political or historical story, so conditioning the ways in which the built environment is perceived and appreciated by its users. This is not just about the buildings as bricks and mortar, but about perceptions of identity and the social and historical values which buildings and spaces embody for a richly diverse population. This book will be valuable to all who are concerned with heritage as practitioners or consumers, particularly those concerned with reconstruction and the creation of authentic places and experiences: architects, architectural historians, town planners, preservationists, conservationists, and those involved in heritage management and material culture.
Color Atlas and Manual of Microscopy for Criminalists, Chemists, and Conservators by
Professionals in many disciplines, from archeology to forensic science and anthropology, must be able to identify organic and inorganic fibers and particles. In a single source, this book presents a range of simple methods to help readers quickly characterize and identify a broad range of materials. Covering substances such as hair and fibers, minerals and soils, paints, drugs, and dust, the book presents the basic principles of microscopy and directions for sample preparation and examination. Most importantly, it offers more than 400 color photomicrographs of the most commonly encountered materials for specimen comparison and rapid identification.
Color Science and the Visual Arts by
"A curator, a paintings conservator, a photographer, and a conservation scientist walk into a bar." What happens next? In lively and accessible prose, color science expert Roy S. Berns helps the reader understand complex color-technology concepts and offers solutions to problems that occur when art is displayed, conserved, imaged, or reproduced. Berns writes for two types of audiences: museum professionals seeking explanations for common color-related issues and students in conservation, museum studies, and art history programs. The seven chapters in the book fall naturally into two sections: fundamentals, covering topics such as spectral measurements, metamerism, and color inconstancy; and applications, where artwork display, painting materials, and color reproduction are discussed. A unique feature of this book is the use of more than 200 images as its main medium of communication, employing color physics, color vision, and imaging science to produce visualizations throughout the pages. An annotated bibliography complements the main text with suggestions for further reading and more in-depth study of particular topics. Engaging, incisive, and absolutely critical for any scholar or student interested in color science, Color Science and the Visual Arts is sure to become a key reference for the entire field.
Materials for Conservation by
Materials in Conservation is the definitive introduction to the properties of materials used in conservation. The first section explains physical and chemical properties which are important in the conservation process, i.e. application, ageing, reversal. The second section provides a detailed consideration of the individual materials, current and obsolete, used in conservation, drawing out the factors relevant to their effects on objects. The conservation uses of each material are summarised and referenced to allow further study. In this second edition, this classic text is revised and updated to include modern materials such as cyclododecane, and current ideas on adhesion, consolidation and reversibility.
Materials Science and Engineering : an introduction by
Ninth Edition continues to promote student understanding of the three primary types of materials (metals, ceramics, and polymers) and composites, as well as the relationships that exist between the structural elements of materials and their properties.
Nanomaterials in Architecture and Art Conservation by
The conservation and protection of buildings that constitute our cultural heritage are complex tasks calling for a comprehensive knowledge of the historical background of the buildings, as well as the construction technologies and materials used. Nanomaterials in Architecture and Art Conservation gives a comprehensive overview of the state of the art of using nanomaterials in conservation sciences, mainly for stone, mortar and plaster strengthening, but also for the consolidation of wall paintings. The book compiles and details deterioration mechanisms of stone and historical mortars, as well as methods of characterising and testing consolidation effects. The non- or semi-destructive characterisation methods that will be presented allow additional measurements to characterise objects before and after any interventions. Besides, general aspects of inorganic consolidants are targeted. The focus, in particular, is the application of nanolime as a new consolidation agent. Basic characteristics and application advices as well as beneficial combinations with other consolidation agents, such as silicic acid esters, are emphasised. What makes this book so special is the large number of practical applications described from the viewpoint of different restorers, offering a direct inside view of the procedure for the conservation of historical monuments. Restorers dealing with stone, mortar and plaster conservation; artists; advanced undergraduate- and graduate-level students of conservation science, art and nanotechnology; offices for the protection of monuments and heritage agencies; and researchers in materials science, conservation, nanotechnology and chemistry, especially those with an interest in applied sciences, will find this book a great reference.
Nanotechnologies and Nanomaterials for Diagnostic, Conservation and Restoration of Cultural Heritage by
Nanotechnologies and Nanomaterials for Diagnostic, Conservation and Restoration of Cultural Heritage explores how advanced nanoscale techniques can help preserve artworks. The book covers lab-scale available techniques as well as advanced methods from neutron sources and X-ray spectroscopy. Other sections highlight a variety of nanomaterials with potential uses in treatments for restoration and conservation, with conservation, consolidation and long-term protection protocols analyzed in each case. The final chapter presents case studies, demonstrates how nanoscale techniques are used to conserve art, and shows what happens when misinterpretation of data sources leads to misdiagnosis. The book is intended for scientists from academic and professional conservators, restorers who are involved in the conservation of artistic and historical artifacts, and those who want to learn how nanotechnology can increase the efficiency of conservation and protection techniques.
Organic Chemistry of Museum Objects by
The Organic Chemistry of Museum Objects makes available in a single volume, a survey of the chemical composition, properties and analysis of the whole range of organic materials incorporated into objects and artworks found in museum collections.
Preventive Conservation in Museums by
Explains the diverse literature and ideas of preventive conservation; principally for those studying museum studies or engaged in the museum profession.
Scientific Methods and Cultural Heritage by
An entry-level introduction to the methods and rationales of scientific investigation of cultural heritage materials, with emphasis placed on the analytical strategies, modes of operation, and resulting information rather than on technicalities. The extensive and updated reference list should be a useful starting point for further reading.
Volatile Organic Compounds and the Conservation of Inorganic Materials by
Identification, treatment and prevention of Volatile Organic Compounds in museums and galleries Volatile organic compounds (VOCs) are carbon-based molecules which, in museums and galleries, are often found as indoor pollutants. The result of off-gassing of materials used in the construction of show cases, storage cabinets and containers, and also resulting from methods of exhibit preparation and cleaning, VOCs not only present possible health hazards but can also affect objects in collections. This book focuses on acetic and formic acid often present in wood and wood products, adhesives, sealants, paints, polyester and rubber as well in the outdoor atmosphere. The author's research into this topic took her to various museum collections where she observed and recorded the deleterious effects of these volatile compounds on various inorganic materials, many of which are illustrated in the text. Having identified the sources of the VOCs she discusses appropriate conservation treatments, display and storage materials, and ways of monitoring and mitigating the effects of the local environment. Contents: Chapter 1 Introduction; Chapter 2 Volatile organic compounds and the formation of acetate and formate compounds on inorganic materials; Carboxylic acids; Acetic acid and acetates; Formic acid and formates; Calcareous materials; Non-calcareous materials; Chapter 3 Calcareous materials; Ceramic and unfired clay; Shell; Stone, fossils and minerals; Stucco and plaster; Chapter 4 Non-calcareous materials; Metals; Glass; Chapter 5 Identification, mitigation and conservation; Identification and quantification of pollutants and corrosion/efflorescence; Mitigation; Conservation; Conclusions; Bibliography; Index."
