By Joyce Hill Stoner, Rebecca Rushfield
Conservation of Easel Paintings is the 1st accomplished textual content at the heritage, philosophy, and strategies of therapy of easel work that mixes either thought with perform.
With contributions from a world crew of specialists and interviews with very important artists, this quantity presents an all-encompassing advisor to valuable historical past wisdom in technical artwork heritage, artists' fabrics, clinical equipment of exam and documentation, with sections that current various ways and techniques for therapy, together with consolidation, lining, cleansing, retouching, and varnishing. The booklet concludes with a piece that includes problems with preventive conservation, garage, delivery, exhibition, lighting fixtures, questions of safety, and public outreach.
Conservation of Easel Paintings is a vital source within the education of conservation scholars and may supply generations of practising work conservators and paintings historians, curators, administrators, creditors, purchasers, artists, and scholars of paintings and paintings background with useful details and guidance.
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Additional resources for Conservation of Easel Paintings
Mikkel Scharff of the School of Conservation, Copenhagen, has researched, published and taught painting conservation techniques, conservation history, technical art history, analytical photography, and preventive conservation at the Royal Danish Academy of Fine Arts since the 1980s, and fostered international collaboration in research through ICOM-CC, ICOM, and IIC. Sibylle Schmitt, senior conservator at Kölnische Stadtmuseum, Cologne, and member of the MOLART Project, was trained in art history and paintings conservation.
For example, while it would seem logical to assume that most artists’ treatises were written by artists for artists, in fact (as will be demonstrated) this was not always so. It might seem likely that published collections of technical information were commonly in use at the time of publication, but this was also not consistently the case. Thus, this chapter will outline the types of sources to survive from different periods, including appendices of the most important, influential, or well-known texts, and point to more comprehensive published bibliographies.
Previously he directed the Hamilton Kerr Institute at Cambridge University, England, after training and working at Glasgow Art Gallery, Scotland. Mary McGinn is Paintings Conservator at Winterthur Museum and Adjunct Associate Professor for the Winterthur/University of Delaware Program in Art Conservation. She has a special interest in decorative painted surfaces, and has published on painted furniture and reverse painted glass. Stefan Michalski is Senior Conservation Scientist at the Canadian Conservation Institute, developing and delivering preservation advice for the heritage community.