Structural Conservation of Panel Paintings 306
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PAINTINGS CONSERVATOR Collections and Information Access Center
Job CIA.4.14 PAINTINGS CONSERVATOR Collections and Information Access Center REPORTS TO: Senior Conservator SUPERVISES: None The Oakland Museum of California values are fundamental to our institutional culture and guide our work together. Excellence: We are committed to excellence and working at the highest standards of integrity and professionalism. Community: We believe everyone should feel welcome and part of our community, both within the Museum and with our visitors and neighbors. Innovation: We embrace innovation and calculated risk-taking to achieve our mission. Commitment: Our work at the Museum demonstrates a sense of purpose and a shared accountability for the institution’s success. POSITION SUMMARY The Paintings Conservator is responsible for the welfare of the paintings within the collection by monitoring the environment, pest activity, and advocating for proper handling, packing, shipping, storage, and exhibit. Incumbent performs skilled conservation work on collections within their specialization including research, examination, documentation, treatment, and preventative maintenance. ESSENTIAL DUTIES AND RESPONSIBILITIES The following reflects OMCA’s definition of essential functions for this position, but does not restrict the tasks that may be assigned. OMCA may assign or reassign duties and responsibilities to this position at any time due to reasonable accommodation or other reasons. INSTITUTIONAL RESPONSIBILITIES • Support the Museum’s mission, values, vision, and core commitment to the visitor experience, community -
Century American Gilded Picture Frames Hugh Glover
Tech Notes, Fall 2006 Care and use of 19th-century American gilded picture frames Hugh Glover icture frames are a component of most art collections and are subject to wear and tear in their functional role surrounding paint- P ings. Damage to frames occurs during exhibition, storage, and travel, and is caused by handling, hanging processes, adverse environments, neglect, and irreversible restorations. Picture frames are maintained by a variety of preservation specialist and their preservation interests have only rarely been addressed. The following is Section 4 of a larger paper, “A Description of 19th- Century American Gilded Picture Frames and an Outline of their Modern Use and Conservation,” presented in June to the Wooden Artifact Group at the 2006 annual meeting of AIC in Providence, Rhode Island. This sec- tion addresses general preservation, handling and preparation of frames for exhibition. Environment Gilded wood objects are ultra sensitive to environmental conditions and are probably more sensitive than most paintings. Gilded wood in adverse climates experiences detachment and loss of gilding/or- nament, while the accumulation of grime leads to surface darkening and cleaning campaigns that may well cause damage. The protected bright gilding that survives on shadow boxed frames of the second half-century illustrates how more exposed gilding has now been altered by grime, abrasion, and staining from moisture and grease during handling. Handling All gilded objects should be handled with non-marring gloves to avoid abrasions and staining, and even paper towels or cotton cloth will suffice. In practice, however, gilded frames are still handled with bare hands as the frame is considered a safe means of handling the artwork. -
January 28, 2021 Introductions Faculty
Art Conservation Open House January 28, 2021 Introductions Faculty Debra Hess Norris Dr. Jocelyn Alcántara-García Brian Baade Maddie Hagerman Dr. Joyce Hill Stoner Nina Owczarek Photograph Conservator Conservation Scientist Paintings Conservator Objects Conservator Paintings Conservator Objects Conservator Chair and Professor of Photograph Associate Professor Assistant Professor Instructor Edward F. and Elizabeth Goodman Rosenberg Assistant Professor Conservation Professor of Material Culture Unidel Henry Francis du Pont Chair Students Director, Preservation Studies Doctoral Program Annabelle Camp Kelsey Marino Katie Rovito Miriam-Helene Rudd Art conservation major, Class of 2019 Art conservation major, Class of 2020 WUDPAC Class of 2022 Senior art conservation major, WUDPAC Class of 2022 Preprogram conservator Paintings major Class of 2021 Textile major, organic objects minor President of the Art Conservation Club What is art conservation? • Art conservation is the field dedicated to preserving cultural property • Preventive and interventive • Conservation is an interdisciplinary field that relies heavily on chemistry, art history, history, anthropology, ethics, and art Laura Sankary cleans a porcelain plate during an internship at UD Art Conservation at the University of Delaware • Three programs • Undergraduate degree (BA or BS) • Winterthur/University of Delaware Program in Art Conservation or WUDPAC (MS) at Winterthur Museum, Garden & Library near Wilmington, DE • Doctorate in Preservation Studies (PhD) Miriam-Helene Rudd cleans a -
CONSERVATORS/RESTORERS Updated: 8/2015
CONSERVATORS/RESTORERS Updated: 8/2015 **THE HOOD MUSEUM OF ART DOES NOT RECOMMEND SPECIFIC CONSERVATORS. THIS LISTING IS MADE FOR PURPOSES OF INFORMATION ONLY.** Online directory of members of AIC (American Institute for Conservation of Historic and Artistic works): www.conservation-us.org/membership/find-a-conservator GENERAL – Also see individual media below Straus Center for conservation and Technical Studies Harvard University Art Museums 32 Quincy Street Cambridge, MA 02138 Paper, Objects, Textiles P: 617/495.2392 F: 617/495.0322 Website: www.harvardartmuseums.org Isabella Stewart Gardner Museum 25 Evans Way Boston, MA 02115 P: 617/566.1401 Paper, Objects, Textiles F: 617/278.5167 Email: [email protected] Website: www.gardnermuseum.org Vermont Museum and Gallery Alliance C/O Fairbanks Museum Referrals. Good source for general 1302 Main Street information on storage, packing, and St. Johnsbury, VT 05819 care of artwork. P: 802/751.8381 Williamstown Art Conservation Center, Inc. 227 South Street Williamstown, MA 02167 Paintings, paper, objects, furniture, P: 413/458.5741 sculpture, frames, analytical F: 413/458.2314 Email: [email protected] Website: www.williamstownart.org Worcester Art Museum 55 Salisbury Street Worcester, MA 01609 Paper, Paintings P: 508/799.4406 Email: [email protected] Website: www.worcesterart.org CONSERVATORS/RESTORERS Updated: 8/2015 General Continued Art Conservation Resource Center 262 Beacon Street, #4 Paintings, paper, photographs, textiles, Boston, MA 02116 objects and sculpture P: -
2009 Final Program
AMERICAN INSTITUTE FOR CONSERVATION OF HISTORIC AND ARTISTIC WORKS 37TH ANNUAL MEETING MAY 19-22, 2009 HYATT REGENCY CENTURY PLAZA LOS ANGELES, CA conservation 2.0 new directions FINAL PROGRAM BOARD OF DIRECTORS WELCOME FROM THE PRESIDENT Martin Burke President Meg Loew Craft Vice President Lisa Bruno Secretary Welcome to Los Angeles and AIC’s 37th Annual Brian Howard Treasurer Catharine Hawks Director, Committees & Task Forces Meeting! Since AIC’s first Annual Meeting in 1972, Paul Messier Director, Communications the meeting has grown to include workshops, Karen Pavelka Director, Professional Education Ralph Wiegandt Director, Specialty Groups tours, posters, lectures, and discussions. Many members and non-members attend each year to ANNUAL MEETING COMMITTEES take advantage of this exceptional opportunity to Meg Loew Craft Program Committee Jennifer Wade exchange ideas and information, learn about new Rebecca Rushfield products and services from our industry suppliers, and explore our Margaret A. Little Paul Himmelstein host city. Make sure to take advantage of the many opportunities Gordon Lewis that come from having so many of your peers in one place, at one Valinda Carroll Poster Session Committee Rachel Penniman time. Angela M. Elliot Jerry Podany Local Arrangements Committee This year’s meeting theme, Conservation 2.0—New Directions, Holly Moore emphasizes ways in which emerging technologies are affecting Jo Hill Ellen Pearlstein the field of conservation. The general session and specialty group Janice Schopfer Laura Stalker program committees have put together a variety of presentations Anna Zagorski that explore this theme. Papers will outline and showcase recent SPECIALTY GROUP OFFICERS advances in all specialties and address scientific analysis, treatment Architecture methods, material improvements, and documentation. -
Kelsey Museum 2020 Annual Report
© 2021 by The University of Michigan. All rights reserved. Published 2020. Printed in the United States of America. The Kelsey Museum of Archaeology, Ann Arbor ISBN: 978-1-7330504-1-8 Edited by Leslie Schramer with assistance from Joseph Frankl. On the cover: Nested jars with coin hoard (KM 2018.1.457), on display in the special exhibition Randal Stegmeyer: Exposing the Past. Unless otherwise noted, all photographs are courtesy of Michigan Photography. With special thanks to Randal Stegmeyer and Austin Thomason. The Kelsey Museum Contents of Archaeology Director’s Report . 1 Vision The Kelsey Museum of Archaeology creates Museum knowledge, explores the past, and educates Exhibitions & Installations . 5 for the future. Public Programs. 7 Comings & Goings. 9 Mission Happenings. 11 The Kelsey Museum of Archaeology advances Members . 14 understanding and appreciation of the ancient Donors, Docents & Volunteers . 15 Mediterranean world through our collections, Administration . 16 research, exhibitions, and fieldwork. Bioarchaeology Lab . 19 Conservation . 22 Values Education . 26 STEWARDSHIP | preserving collections Exhibitions . 37 and information for future generations in Facilities . 41 a sustainable way Publications. 48 RESEARCH | advancing knowledge through Registry . 51 scholarly inquiry and informed interpretation Research EDUCATION | inspiring life-long learning through Field Projects direct experience of the past Abydos Middle Cemetery Project, Egypt. 55 DISCOVERY | exploring new approaches El-Kurru and Jebel Barkal, Sudan . 59 to antiquity Gabii, Italy . 68 Olynthos, Greece . 70 CREATIVITY | fostering innovative collaboration Individual Reports . 72 and presentation RESPECT | finding strength in collaboration Staff & Students . 87 by valuing each other’s expertise and diverse perspectives University of Michigan Board of Regents Jordan B. -
The Meaning of Materials in Modern and Contemporary
2012 AICCM Paintings Group + 20th Century in Paint Symposium The Meaning of Materials in Modern and Contemporary Art 2012 AICCM Paintings Group + 20th Century in Paint Symposium The Meaning of Materials in Modern and Contemporary Art Cinema B, Gallery of Modern Art, Brisbane 10-11 December 2012 1 2 3 Contents Supporters Supporters / 5 Jointly organised by ‘The Twentieth Century in Paint’ Australian Research Council (ARC) Linkage Project headed by The Centre for Cultural Materials Conservation at the University Welcome Message / 6 of Melbourne, the Queensland Art Gallery | Gallery of Modern Art Centre for Contemporary Art Conservation and the Australian Institute for the Conservation of Cultural Materials General Information / 9 (AICCM) Paintings Special Interest Group. Program / 10 The organizing committee would like to acknowledge the support of the Ian Potter Foundation. Tru Vue, the manufacturer of high-performance glazing for framing and Symposium Abstracts / 15 display applications is also pleased to support this symposium. For more information on Tru Vue glazing products, contact Jared Davis, Megawood Larson Juhl at JDavis@ Author Profiles / 32 megawoodlarsonjuhl.com.au or visit www:tru-vue.com/museums. Acknowledgments / 42 Location Map / 44 4 5 This is particularly interesting in painting media through revolutionary art contemporary museum practice. The practices in the 20th century in Australia Welcome processes by which artists transfer and parts of Southeast Asia. The project knowledge to institutions and collectors for concludes -
Indiana Archaeology
INDIANA ARCHAEOLOGY Volume 5 Number 2 2010/2011 Indiana Department of Natural Resources Division of Historic Preservation and Archaeology (DHPA) ACKNOWLEDGMENTS Indiana Department of Natural Resources Robert E. Carter, Jr., Director and State Historic Preservation Officer Division of Historic Preservation and Archaeology (DHPA) James A. Glass, Ph.D., Director and Deputy State Historic Preservation Officer DHPA Archaeology Staff James R. Jones III, Ph.D., State Archaeologist Amy L. Johnson Cathy L. Draeger-Williams Cathy A. Carson Wade T. Tharp Editors James R. Jones III, Ph.D., State Archaeologist Amy L. Johnson, Senior Archaeologist and Archaeology Outreach Coordinator Cathy A. Carson, Records Check Coordinator Publication Layout: Amy L. Johnson Additional acknowledgments: The editors wish to thank the authors of the submitted articles, as well as all of those who participated in, and contributed to, the archaeological projects which are highlighted. Cover design: The images which are featured on the cover are from several of the individual articles included in this journal. Mission Statement: The Division of Historic Preservation and Archaeology promotes the conservation of Indiana’s cultural resources through public education efforts, financial incentives including several grant and tax credit programs, and the administration of state and federally mandated legislation. 2 For further information contact: Division of Historic Preservation and Archaeology 402 W. Washington Street, Room W274 Indianapolis, Indiana 46204-2739 Phone: 317/232-1646 Email: [email protected] www.IN.gov/dnr/historic 2010/2011 3 Indiana Archaeology Volume 5 Number 2 TABLE OF CONTENTS Authors of articles were responsible for ensuring that proper permission for the use of any images in their articles was obtained. -
The Best of Renaissance Florence April 28 – May 6, 2019
Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies. -
1. Introduction
This PDF is a simplified version of the original article published in Internet Archaeology. Enlarged images, and interactive features which support this publication can be found in the original version online. All links also go to the online version. Please cite this as: Cerbone, O., Garrisi, A., Giorgio, M., La Serra, C., Leonelli, V. and Manca di Mores, G. 2021 Italian Archaeology: heritage, protection and enhancement, Internet Archaeology 57. https://doi.org/10.11141/ia.57.7 Italian Archaeology: heritage, protection and enhancement Oriana Cerbone, Alessandro Garrisi, Marcella Giorgio, Cristiana La Serra, Valentina Leonelli and Giuseppina Manca di Mores Summary Italy has a long tradition of cultural heritage management, which has been framed in an art historical context. This paper outlines the challenges to public archaeology, as it is often seen as a cost rather than as a benefit. Examples are provided showing how museums and heritage sites can be made more inclusive and welcoming to all members of the public, using a combination of private funding and public regulatory frameworks. 1. Introduction This article outlines the legislative provisions for the development of public archaeology in Italy. It will also consider to what extent such agreements have been successful in the 20 years since Valletta, and to what extent there is room for improvement. In order to explain the current arrangements for archaeology in Italy, it is important to understand certain long-standing characteristics of Italian society, and some specific current circumstances in the country. It is well recognised that, within Europe, Italy is the country that first developed rules for the protection of its historical and artistic heritage: a direct consequence of an abundance that has few equals throughout the world. -
Digital Cradle Removal in X-Ray Images of Art Paintings
DIGITAL CRADLE REMOVAL IN X-RAY IMAGES OF ART PAINTINGS Rujie Yin1, David Dunson1, Bruno Cornelis2, Bill Brown3, Noelle Ocon3, Ingrid Daubechies1 1: Duke University, USA; 2: Free University Brussels (VUB), Belgium; 3: North Carolina Museum of Art, USA ABSTRACT cradling slat perpendicular back of painted We introduce an algorithm that removes the deleterious effect to panel wood grain panel of cradling on X-ray images of paintings on wooden panels. The algorithm consists of a three stage procedure. Firstly, the cradled regions are located automatically. The second direction of wood step consists of separating the X-ray image into a textural grain of panel cradling slats in direction of and image component. In the last step the algorithm learns panel wood grain to distinguish between the texture caused by the wooden cra- dle and the texture belonging to the original painted wooden Fig. 1: Cradle of old paintings on wood panel. The results obtained with our method are compared panel: Top left: a sample patch from the X- with those obtained manually by best current practice. ray image of a cradled painting panel, illustrat- ing the artifacts caused by the cradling, with en- Index Terms— texture, art, painting, cradle. larged detail (showing cradle wood grain). Top right: sketch of the lattice of crossed perpendicu- 1. INTRODUCTION = p lar wooden slats: slats parallel to the panel wood bd = c grain are glued first; transverse slats are slotted = int 1.1. The digital cradle removal problem c in. Left: indication, on the sample patch, of the partition into different domains used in x2. -
Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries
CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI ...