this file - ICOM-CC

ICOM Committee for Conservation
Comité de l’ICOM pour la conservation
Triennium 2002 - 2005
NEWSLETTER 1
PAINTINGS: SCIENTIFIC STUDY, CONSERVATION
AND RESTORATION
Contents
Page
From your Co-ordinators
2-3
Conference reviews
3
Current Projects
5 - 11
Forthcoming meetings, calls for papers
12-13
Courses
14
Fellowships / Internships
14-15
Recent and forthcoming publications
16 - 18
Internet news
17 - 18
Membership information and Contact addresses
19
1
Novel treatments
From your Co-ordinators
Anne Rinuy & Jacqueline Ridge
Dear members
The last three years of the ICOM-CC working group Paintings
I and II have been busy and fruitful ones. It is right therefore
that thanks should go to the past coordinators and assistant
coordinators for all their hard work - Mikkel Scharff, Al
Brewer, Ysbrand Hummelen, Helena Nitkanen and Jorgen
Wadum. We make special thanks to Alan Phenix whose role
over the past 6 years as coordinator of Paintings WG I has
been inspirational and to Anne Rinuy who continues as joint
coordinator.
The next three years
The proposed programme for the triennial period 2002-2005
was submitted to the ICOM-CC board in December following
discussion at the ICOM-CC Rio meeting and communications
with the working groups paintings I and II.
Some significant changes have been made to the structure of
our group following the lines of the proposal made in the last
newsletter back in June 2002. There is now a single
Paintings working group called Paintings: Scientific Study,
Conservation and Restoration. This new group will be
managed by a working group team for the next triennium and
will include 2 Co-ordinators (one for Conservation &
Restoration and one for Scientific Study), and a small sub
group of elected assistant co-ordinators. The immediate coordinators are the newly elected persons respectively from
Paintings I and Paintings II: Jacqueline Ridge, Conservation
Dept, Tate, London & Anne Rinuy, Laboratoire - Musée d'art
et d'histoire, Geneva, Switzerland.
And the elected assistant coordinators: Dr Joyce Townsend,
Tate, London, Dr Gunnar Heydenreich,
Restaurierungszentrum, Dusseldorf, Germany, Tiarna
Doherty, Getty Museum, USA.
Reflecting the desires of members the aims of this new
working group will be broad, building on the achievements of
the last three years. In no way is the merging of the two
groups intended to suggest a reduction of research activity.
Research
This WG’s aim is to support applied conservation research
that furthers the understanding of practical conservation, and
the materials and construction of paintings. After some
discussion it was felt the old divisions of Flexible Supports,
Rigid Supports, Modern and Contemporary Art, within
paintings group I were no longer helpful and that a collection
of research themes covering both paintings I and II should
replace them. The themes are listed below; they are not
intended to be prescriptive but aim to reflect current active
research areas.
Historical studies of painting materials
Technical art history
Studies into the deterioration of artist’s materials, including
the dynamic interaction between pigments and media
Studies on mechanical behaviour of paintings materials
Cleaning
Structural conservation of paintings, stabilisation and
consolidation
Retouching and varnishing strategies
In addition two object type groups will be included; the input
from those working in the field of Icons is of continuing
interest, whilst the new inclusion of issues pertaining to
Painted Miniatures opens up a new area. It is hoped that both
these specialises will be able to feed into the themes above
A further change is the merging of Modern Materials and
Contemporary Art into the WG - Modern Materials. This
group will now cover the “non-paintings” aspects of modern
and contemporary art, but it is crucial that an active link is
maintained. Those interested in the activities of this group
may write to the co-ordinator Thea B. van Oosten, e-mail:
[email protected]. Similarly, active links with other
related working groups will be essential for our work to be
relevant.
Communication amongst the working group
The WG is only effective if good communication channels are
fostered. The working group team will aim to produce a yearly
newsletter (edited by Tiarna Doherty), supplemented by
additional communications as necessary. The newsletter will
comprise your contributions so please send them in.
A strategy for knowledge management – that is a means of
identifying what work is going on where etc, will be
developed. Of significance is the aspiration to make all
communications electronic by the next triennium – we are
seeking your comment on this and your potential interest in
developing a working group webpage.
There is an aspiration to holding an interim working group
meeting. - its location, and theme is yet to be resolved but will
support collaborative projects between practicing
conservators, conservation scientists, and scientists to
encourage relevance and application of research. Your
comments as to possible themes are sought and as a starting
point the following could be considered.
1. Application of current research to conservation
practice
2. Contemporary paintings
3. Primings - Importance and effects of preparatory
layers
4. Application of resin research
The commitment of ICOM-CC to raise the both the
professional and public profile of conservation should be a
consideration flowing through the communication of our work.
Housekeeping
To help our research programmes some administrative
aspects will be resolved. This will include the merging and
updating of the membership lists of painting I and II, and the
development of a strategy to maintain the list. There is a
desire to increase the number of voting members of our
group and to clarify the mechanism for joining ICOM-CC
working groups.
January 2003.
Jacqueline Ridge
On behalf of the Working Group Team - Paintings: Scientific
Study, Conservation and Restoration
2
Chers membres,
Les trois dernières années du groupe de travail
Peinture I et II ont été très actives et productives. Il est
donc approprié de remercier les coordinateurs
précédents pour leur travail intensif - Alan Phenix et
Anne Rinuy, ainsi que les assistants coordinateurs Mikkel Scharff, Al Brewer, Ysbrand Hummelen, Helena
Niktanen and Jorgen Wadum. Nous remercions
particulièrement Alan Phenix dont le rôle de
coordinateur du groupe de travail Peinture I fut porteur
d'inspiration, ainsi qu'Anne Rinuy qui reconduit son
mandat de coordinateur associé.
Les trois années à venir
Le programme proposé pour la période triennale 20022005, décrit ci-dessous, a été soumis au comité ICOMCC en décembre, suite à une discussion à la réunion
ICOM-CC de Rio ainsi qu'à des contacts avec les
groupes de travail Peinture I et II. Nous sommes
heureux de vous faire savoir que le programme a été
accepté sans que des modifications doivent y être
apportées.
Des changements importants ont été imposés à
l'organisation du groupe suite aux lignes directives du
projet présenté dans la dernière infolettre (juin 2002). Il
n'y a plus qu'un groupe de travail unique : Peinture :
étude scientifique, conservation et restauration. Ce
nouveau groupe sera organisé pendant le triennal par
une équipe comprenant
. 2 coordinateurs élus par les groupes de travail
Peinture I et II : respectivement Jacqueline Ridge
(Département de conservation, Tate Gallery, Londres,
Royaume-Uni) pour la conservation et la restauration,
et Anne Rinuy (Laboratoire, Musée d'art et d'histoire,
Genève, Suisse) pour l'étude scientifique.
. Un petit sous-groupe d'assistants coordinateurs,
également élus : Dr Joyce Townsend, Tate Gallery,
Londres, Royaume-Uni ; Dr Gunnar Heydenreich,
Restaurierungszentrum, Dusseldorf, Allemagne et
Tiarna Doherty, Getty Museum, Etats-unis.
Répondant à la volonté des membres, les domaines de
travail de ce groupe seront étendus et seront
développés sur les bases établies ces trois dernières
années. La fusion des deux groupes n'impliquera en
aucun cas une réduction de l'activité de recherche.
Recherche
Le but du groupe de travail est de soutenir la recherche
appliquée à la conservation et contribuant à la
connaissance des matériaux et de la structure des
peintures. Suite à discussion, il apparaît que les
divisions au sein du groupe Peinture I entre "supports
flexibles", "supports rigides" et "art moderne te
contemporain" ne sont plus d'utilité et qu'une série de
thèmes de recherche intéressant Peinture I et II
devraient s'y substituer. Ces thèmes, nommés cidessous, ne sont pas directeurs ; ils reflètent
seulement des domaines de recherche courants actifs :
. L'études de matériaux de peintures historiques
. L'histoire technique de l'art
. L'étude de la détérioration des matériaux artistiques,
dont l'interaction dynamique entre pigments et liants.
. L'étude du comportement mécanique des matériaux
picturaux
. Le nettoyage
. La conservation structurelle des peintures, leur
stabilisation et leur consolidation
. Les stratégies de retouche et vernissage
. Les traitements innovants
En plus, 2 groupes de travail de type "objet" seront
inclus : les contributions dans le domaine des icônes
restent pertinentes et l'inclusion de problématiques
liées aux miniatures ouvre une ère nouvelle. Nous
espérons que ces spécialisations concourront aux
thèmes prénommés.
La fusion des groupes de travail "Matériaux modernes"
et "Art contemporain en un groupe unique "Matériaux
modernes" constitue un autre changement. Ce groupe
couvrira les domaines "non-peinture" de l'art moderne
et contemporain, mais il est crucial que des liens actifs
soient maintenus avec le groupe Peinture (?). De
même, des liens actifs entre groupes de travails sont
essentiels à la pertinence de notre travail.
Communication au sein du groupe de travail
L'efficacité du groupe de travail dépend d'une bonne
communication. L'équipe du groupe de travail a pour
but de produire une infolettre annuelle (éditée par
Tiarna Doherty), complétée si nécessaire par d'autres
communications. Vous êtes invités à envoyer vos
contributions ; celles-ci pourront être inclues dans
l'infolettre.
Une stratégie de gestion de la connaissance sera
développée, visant à identifier et à localiser le travail de
recherche en cours. Le groupe de travail aspire à
rendre toutes les communications électroniques d'ici la
fin du triennal ; nous aimerions recevoir vos
commentaires à ce sujet ainsi que sur le
développement possible d'une page internet.
Nous constatons un intérêt pour l'organisation d'une
réunion intérimaire du groupe de travail dont la
localisation et le thème doivent encore être décidés.
Elle soutiendra des projets de collaboration entre des
restaurateurs-conservateurs praticiens, et des
chercheurs scientifiques de la conservation pour
encourager la pertinence et l'application de la
recherche. Nous suggérons déjà les thèmes suivants
et espérons recevoir vos suggestions pour d'autres
sujets :
. L'application de la recherche actuelle sur la pratique
de la conservation
. La peinture contemporaine
. L'importance et les effets des couches de préparation
. Les applications de la recherche sur les résines
3
L'engagement de l'ICOM-CC d'élever le statut
professionnel et public de la conservation devrait
transparaître dans la communication de notre travail.
Afin d'aider nos programmes de recherches, quelques
tâches administratives seront prises en charge, dont la
fusion et la mise à jour de la liste des membres de
Peinture I et II ainsi que la gestion de celle-ci. Le
nombre de membres votants de notre groupe devrait
être accru et le mécanisme d'adhésion aux groupes de
travail ICOM-CC devrait être clarifié.
Janvier 2003
Jacqueline Ridge
Au nom de l'équipe du groupe de travail - Peinture :
étude scientifique, conservation et restauration
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4
Brief Review of ICOM from Brasil
Teodora Carneiro
Painting Conservator – Conservadora de Pintura
Pinacoteca do Estado de Sao Paulo, Brazil.
The 13th Triennial Meeting was one of that things we will
never forget, absolutely fantastic. We were so glad and proud
to see the work that people, from all over the world,
presented in our country. The possibility for Brazilian
conservators to exchange different experiences has a very
special importance. I mean, it opened new opportunities and
projects, new thoughts and concepts, new openness. We
have every two years a national meeting, but ICOM was
unique. I should add that the translation quality in French,
Spanish and Portuguese were superb and fundamental for
this meeting. The painting conservation/restoration
presentations were of a very high level, and the scientific
aspects were excellent. The approach in put contemporary
and classical art closer, care with preventive conservation
and precise analyses enriched us a lot. I expect Brazilians
are now more and more motivated to find better solutions that
will fit in our reality.
O 13º Encontro Trienal foi uma daquelas coisas
inesquecíveis, fantásticas. Estávamos muito felizes e
orgulhosos em ver todas aquelas pessoas, de todo mundo,
em nosso país. A possibilidade de trocar diferentes
experiências para os conservadores brasileiros tem uma
importância especial. Foram criadas novas oportunidades e
projetos, novos conceitos e idéias, novas esperanças. A
cada dois anos fazemos um encontro nacional, mas o ICOM
foi excepcional. Devo acrescentar que as traduções
simultâneas em francês, espanhol e português foram ótimas
e fundamentais para esse encontro. As apresentações, no
que diz respeito à pintura, foram de altíssimo nível, bem
como os aspectos científicos. A abordagem aproximando
arte clássica e contemporânea, cuidados com a conservação
preventiva e as análises precisas nos enriqueceram muito.
Espero que agora os brasileiros se sintam ainda mais
motivados a encontrar soluções que se encaixem na nossa
realidade.
La 13e Réunion triennale est un des événements absolument
fantastiques que nous n’oublierons jamais. Nous étions si
heureux et fiers de voir tous ces gens venus de tous les coins
de la terre dans notre pays. Les occasions qu’ont les
restaurateurs brésiliens d’échanger des informations revêtent
une grande importance. Cela a créé de nouvelles occasions
et suscité de nouveaux projets, concepts et idées, un nouvel
espoir. Tous les deux ans nous organisons un congrès
national, mais l’ICOM-CC était unique. Je dois ajouter que la
qualité de la traduction simultanée en français, espagnol et
portugais était superbe et d’une importance capitale pour
cette réunion. Les conférences des groupes Peinture étaient
d’un très haut niveau, les aspects scientifiques excellents.
L’approche adoptée, de mêler art classique et art
contemporain, traitement, conservation préventive et
rigoureuses analyses, nous a enrichis. Je m’attends à ce que
les restaurateurs brésiliens soient de plus en plus motivés à
trouver de meilleures solutions qui conviendront à notre
réalité.
Notes from the UKIC Digital Imaging for
the Paintings’ Conservator Conference,
Tate Modern, December 6, 2002.
Helen Spande, Tate, London
Alison Gilchrest, Metropolitan Museum of Art, New York
The recent conference on the subject of digital imaging
touched on many relevant topics facing paintings
conservators who increasingly are exploring digital media.
There was an exchange of information at both the expert and
novice level, raising provocative questions and inspiring
discussion lasting beyond the one day conference. For
instance, is the resolution of a silver emulsion film really
exceeded by the new high-end scanning-back digital
cameras? What are the legal implications of publishing
condition documentation images of a contemporary artwork
on the internet? How can a £100 frame grabber card for a
vidicon camera work just as well as one for ten times the
price?
The day was organized into eight talks with a question and
answer session at the end. During this final period some
especially valuable tips were shared, such as
recommendations for how to adapt a common consumer
digital camera for infrared photography. Broadly, the
presentations were either narrative accounts of specific
projects undertaken with imaging technology or overviews of
the technology and software suited for conservation imaging.
Jason Revell began the day with the fundamentals of
purchasing a digital camera with a particular eye toward the
higher-end systems. Though he did not endorse any brand or
model, he did offer a clear breakdown of the features and
advantages of the high, mid, and low-end options.
Patricia Smithen gave an account of the acquisition of an
infrared camera and capturing system at Tate, including a
summary of most of the current types of infrared cameras
available. It was particularly heartening to learn that she and
her co-authors Jacqueline Ridge and Elizabeth Reissner
managed the installation of the camera, frame grabber card
and dual Linux/Windows operating system with almost no
institutional technical support.
Jason Maher and Sonia O'Connor tackled the complex topic
of digitizing x-rays. Their talk summarized the available
options for generating new x-rays (whether film-based
analogue images or filmless digital images) as well as
discussed methods to digitize x-ray film archives.
David Saunders, presenting work with John Cupitt and
Joseph Padfield, discussed the various problems inherent in
making mosaiced images of either x-ray or infrared material,
demonstrating how easily mosaicing software can generate
artefacts that can be mistaken for intriguing phenomena in a
painting. He offered a daring live demonstration of various
software options including stitching packages (PanaVue,
Stitcher), graphic arts packages (PhotoShop, CorelDraw),
and image processors (VIPS or nip).
Deleted: e
Tessa Meijer related the progress of the project at Tate to
obtain and archive digital images of the entire collection.
Conservators, though generally not directly involved in such
projects, can appreciate the benefits of high-quality images of
very fragile or inaccessible works of art being made more
easily available. Naomi Korn, another Tate staff member,
5
followed with an eye-opening talk on the little understood field
of copyright law. Though the regulations vary by country, it is
important to consider that often an artist holds ‘moral rights’
to the image that he creates and publishing images of
damage to art can compromise these.
Nick Eastaugh described a comprehensive pigment database
called the Pigmentum Project that is underway and will be
accessible on the internet at www.pigmentum.org. He
discussed the decision to use a high-end digital camera
instead of traditional film-based photography to acquire and
catalogue the vast number of microscopy images. Along with
colleague Valentine Walsh, he is also working towards
standardizing the descriptive language by using a controlled
terminology that will allow better indexing and querying
results. Vocabulary control is a major concern when
compiling such a complex database with ramifications for
other areas of conservation documentation.
Spike Bucklow gave the last talk of the day, which could have
been called “An Altarpiece Made of Thousands of Parts and
How to Keep Track of Them All.” He offered a home-style
alternative to 3-D scanning using small stickers and a digital
camera to plot surface irregularities and extract three
dimensional information from two dimensional photographs.
In one example, he tracked how a wood panel expanded and
contracted in a flapping motion with cycling environmental
conditions. He also reminded us that one value of digital
images is the ease with which we can manipulate them - a
double-edged sword.
Two main paths for further enquiry evolved by the end of the
conference. One of these was that some conservators felt
they could benefit from a workshop session with digital
cameras or at least the development of guidelines for working
with digital images in conservation. A continuation of the
discussion of translating image resolution from one format to
another, for example, would be useful. The other main
thread of interest seemed to be in the sharing of technical
details of infrared imaging experiences such as comparing
frame grabber cards and camera specifications. A dedicated
listserv is being organized to provide a forum for infrared
photography and reflectography discussion.
To express interest in joining the IR listserv, email
[email protected].
To purchase a copy of the conference preprints (£5 plus
postage and packing), contact: United Kingdom Institute
for Conservation
109 The Chandlery
50 Westminster Bridge Road
London SE1 7QY
United Kingdom
Tel: 020 7721 8721 (International - +44 20 7721 8721)
Fax: 020 7721 8722 (International - +44 20 7721 8722)
Notes au sujet du congrès de l’UKIC sur la
numérisation pour les restaurateurs de
peintures, Tate Modern, 6 décembre 2002
Helen Spande, Tate, Londres
Alison Gilchrest, Metropolitan Museum of Art, New York
Le récent congrès portant sur la numérisation a traité
plusieurs sujets pertinents pour les restaurateurs de peinture,
qui explorent de plus en plus les médias numériques.
L’information qui y a été échangée était autant de niveau
expert que novice, et a soulevé des questions et provoqué
des discussions qui ont duré plus que la seule journée du
congrès. Par exemple, la résolution de l’émulsion argentique
d’un film est-elle vraiment surpassée par celle des nouveaux
appareils photo numériques haut de gamme? Quelles sont
les implications légales de publier des images reliées à la
documentation de l’état d’un objet sur l’Internet? Comment
une carte de saisie d’image de 100 £ pour un vidicon peutelle fonctionner aussi bien qu’une autre qui coûte dix fois plus
cher?
Huit conférences ont été présentées au cours de la journée,
suivies d’une période de questions à la fin. De très bons trucs
ont été partagés lors de cette période finale, comme des
façons d’adapter un appareil photo numérique du commerce
pour la photographie infrarouge. En général, les conférences
traitaient soit de projets spécifiques faisant appel à la
technologie numérique ou faisaient un survol de la
technologie et de logiciels adaptés à l’imagerie en
conservation.
Jason Revell a débuté la journée avec les principes de base
de l’achat d’un appareil photo numérique, un intérêt
particulier étant porté au haut de gamme. Bien qu’il n’ait pas
recommandé une marque ou un modèle en particulier, il a
bien décrit les caractéristiques et les avantages des options
bas de gamme, intermédiaires et haut de gamme.
Patricia Smithen a raconté l’achat d’une caméra infrarouge
et d’un système de capture à Tate et a présenté
succinctement les modèles de caméras infrarouges
actuellement sur le marché. Il a été réconfortant d’apprendre
que Patricia et ses co-auteurs Jacqueline Ridge et Elizabeth
Reissner ont réussi à installer la caméra, la carte de saisie
d’image et le système d’opération double Linux/Windows
sans presque aucune aide technique de la part de leur
institution.
Jason Maher et Sonia O'Connor se sont attaqués au sujet
complexe de la numérisation des radiographies. Ils ont
présenté un résumé des options pour produire de nouvelles
radiographies (qu’il s’agisse d’images sur film ou d’images
numériques) et ont aussi discuté des méthodes de
numérisation d’archives radiographiques.
David Saunders, avec John Cupitt et Joseph Padfield, ont
discuté des problèmes inhérents à la production d’images
mosaïques de radiographies ou de matériel infrarouge, et ont
démontré comment le logiciel permettant de faire ces
mosaïques peut créer des artefacts qui peuvent passer pour
des phénomènes inexpliqués dans le cas des peintures.
David a fait une démonstration audacieuse de plusieurs
logiciels incluant des logiciels de maillage (PanaVue,
Stitcher), de graphisme (PhotoShop, CorelDraw) et de
traitement d’images (VIPS ou nip).
Tessa Meijer a relaté les progrès réalisés à Tate pour obtenir
et archiver des images numériques de la collection entière.
Les restaurateurs, bien que n’étant pas en général
directement engagés dans ce type de projet, peuvent
apprécier les bénéfices qui découlent de l’obtention et de la
diffusion d’images de haute qualité d’œuvres d’art très
fragiles ou inaccessibles. Naomi Korn, une autre employée
de Tate, a ensuite présenté une conférence sur le droit
d’auteur, un sujet très mal compris. Bien que les lois varient
d’un pays à l’autre, il est important de réaliser que l’artiste
possède souvent des «droits moraux» sur ce qu’il crée et que
6
le fait de publier des images de dommages observés sur des
œuvres peut aller à l’encontre de ces droits.
Nick Eastaugh a décrit une vaste base de données sur les
pigments intitulée «Pigmentum Project» qui est en
développement et à laquelle on pourra avoir accès sur
l’Internet à www.pigmentum.org. Il a discuté de la décision
qui a été prise d’utiliser un appareil photo numérique haut de
gamme au lieu de la photographie traditionnelle sur film pour
faire l’acquisition et le catalogage d’un très grand nombre de
microphotographies. Il travaille aussi avec sa collègue
Valentine Walsh à la normalisation de vocabulaire descriptif
en utilisant une terminologie stricte qui permettra de
rechercher et d’indexer de façon plus efficace. Le contrôle du
vocabulaire est primordial lorsque l’on compile les données
d’une base de données si complexe qui a des ramifications
pour d’autres domaines de la documentation en
conservation.
Spike Bucklow a présenté la dernière conférence de la
journée, qui aurait pu s’intituler «Un retable fait de milliers de
pièces et comment en conserver la trace». Il a offert une
version maison du balayage 3D faisant appel à de petits
autocollants et à un appareil photo numérique pour tracer les
irrégularités de surface et extraire de l’information
tridimensionnelle de photographies bidimensionnelles. A titre
d’exemple, il a suivi le mouvement de battement d’un
panneau de bois soumis à des variations d’environnement
cycliques causé par son expansion et sa contraction. Il nous
a aussi rappelé que l’un des avantages des images
numériques est la facilité avec laquelle nous pouvons les
manipuler – une arme à double tranchant.
Deux directions principales valant la peine d’être explorées
davantage s’étaient dessinées à la fin de la journée. L’une
concernait le fait que les restaurateurs bénéficieraient
sûrement d’une réunion de travail portant sur l’utilisation des
appareils photo numériques ou qui offrirait au moins des
lignes directrices sur l’utilisation d’images numériques en
conservation. Cela vaudrait la peine, par exemple, de
discuter plus avant des changements de résolution d’image
lorsque l’on passe d’un format à un autre. L’autre idée qui
suscitait beaucoup d’intérêt était de partager les détails
techniques de nos expériences d’imagerie, par exemple de
pouvoir comparer les cartes de saisie d’image ou les
spécifications des caméras. Une liste de discussion
électronique sera mise en place comme lieu de discussion
sur la photographie et la réflectographie infrarouge.
Si vous êtes intéressés à vous inscrire à cette liste de
discussion, veuillez écrire à
[email protected].
Pour acheter un exemplaire des actes du congrès (5 £ plus
frais de poste et de manutention), veuillez écrire à :
United Kingdom Institute for Conservation
109 The Chandlery
50 Westminster Bridge Road
Londres SE1 7QY
Royaume-Uni
Tél. : 020 7721 8721 (International : +44 20 7721 8721)
Télécopieur : 020 7721 8722 (International : +44 20 7721
8722)
IRRdistlist
New Online Discussion Group for Infrared
Reflectography Users
Bonnie Rimer, the William R. Leisher Fellow in paintings
conservation and Pamela Betts, the Culpepper Fellow in
paintings conservation at the National Gallery, Washington,
D.C. are planning a new IRRdistlist.
The IRRdistlist will provide an online forum for individuals
working with infrared reflectography to share technical
information, ask and answer questions regarding equipment,
methods and analysis, and announce events and discoveries
of interest to the participants. It will be issued approximately
once every two weeks or as often as participants contribute.
The IRRdistlist is modeled after the Consdistlist, but is meant
to provide discussion more focused on the topic of infrared
reflectography and related technology. It is meant to be
informal and provide quick dissemination of information and
discussion rather than carefully developed argument. In
addition, a directory of email addresses, known as the IRRDir
would be made available via CoOL and be updated regularly.
In the future, a website will be created that could include
equipment specifications, short articles, bibliographies, and
images as well as links to
relevant web-sites.
IRRdistlist
Nouveau groupe de discussion en ligne pour les
utilisateurs de la réflectographie infrarouge
Bonnie Rimer, William R. Leisher Fellow en conservation des
peintures, et Pamela Betts, Culpepper Fellow en
conservation des peintures à la National Gallery
(Washington, D.C.) sont à préparer un nouveau groupe de
discussion en ligne, «IRRdistlist».
Ce groupe servira de forum de discussion pour que les
utilisateurs de la réflectographie infrarouge puissent
échanger des renseignements techniques, poser des
questions reliées à l’équipement, aux méthodes et à l’analyse
(ou y répondre), ou pour annoncer des événements ou des
découvertes qui pourraient intéresser les autres participants.
Un message sera envoyé à toutes les deux semaines environ
ou plus souvent, selon le rythme auquel les participants
soumettront des contributions. La «IRRdistlist» reprend le
modèle de la «Consdistlist» mais se veut un outil de
discussion dédié uniquement à la réflectographie infrarouge
et à la technologie qui lui est pertinente. Le but est d’avoir
des discussions informelles et de fournir rapidement de
l’information, plutôt que de présenter une argumentation
«bien emballée». De plus, un répertoire d’adresses
électroniques, IRRDir, serait accessible via CoOL et mis à
jour régulièrement.
Un site web sera éventuellement créé, sur lequel on pourra
trouver les spécifications d’équipements, de courts articles,
des bibliographies, des images et des liens avec d’autres
sites web consacrés au sujet.
7
Collectors World Online Forum
Skin Deep: Questions on the Conservation
of Post-War Paintings
January 29 - February 15, 2003
Jim Coddington, Museum of Modern Art, N.Y.
Several years ago AXA Art Insurance donated a damaged
and over-painted Ad Reinhardt Black Painting to the Museum
of Modern Art and the Guggenheim Museum for research
purposes. Recognizing that monochromatic paintings like this
present a special kind of restoration problem for conservators
AXA also provided funds to for research. As part of that effort
it was decided that there should be a forum to discuss the
ethical and practical concerns of restoring monochromatic
paintings.
This discussion took place on the Collectorsworld.org
website, a site sponsored by AXA, January 29 th to February
18th. Participants included conservators, art historians, and
dealers in an effort to bring multiple view points to the topic.
While this is an issue which has been debated a number of
times before the possibility of doing so on a web site, at least
partially in conjunction with an ongoing restoration/research
project on a particular work, seemed to offer a unique
opportunity to discuss it in more practical detail before a
larger audience.
The forum and the participants remarks remains on the site,
www.collectorsworld.org http://www.collectorsworld.org/
Il y a quelques années, AXA Art Insurance a fait don au
Musée d'Art Moderne et au Guggenheim d'un tableau noir de
Ad Reinhardt endommagé et repeint afin que soient
poursuivies des recherches. Reconnaissant pleinement que
les peintures monographiques de ce type présentent un
problème de restauration particulier pour les conservateurs,
AXA a également subventionné la recherche. Un forum de
discussion s'est ouvert sur les problèmes pratiques et
éthiques liés à la restauration des peintures monochromes.
La discussion s'est effectuée sur le site Collectorsworld.org,
un site sponsorisé par AXA, du 29 janvier au 18 février. Afin
d'apporter des points de vue variés sur le sujet, les
participants invités étaient des conservateurs, des historiens
de l'art et des marchands d'art. Même si ce sujet a été
largement débattu dans le passé, la possibilité de le faire sur
un site internet, au moins partiellement en parallèle avec un
projet de restoration/recherche sur un travail précis, semble
offrir une occasion unique de discussion sur des détails plus
pratiques devant une très large audience.
Le forum et les remarques des participants se trouvent sur le
site, www.collectrosworld.org.
An evaluation of cleaning methods for
modern and contemporary paintings
Tom Learner and Bronwyn Ormsby,
Tate, London
The removal of surface dirt and/or discoloured varnish from
the surface of paintings is one of the most commonly
executed treatments by conservators. However, the body of
knowledge available to assist conservators with their
decisions on cleaning methods only refers to traditional paint
media, and there is virtually no information or data on the
short- or long-term effects of cleaning modern and
contemporary paintings.
Understanding the effects of various cleaning methods on
modern and contemporary works of art has important
implications for the conservation of artworks, since each type
of paint used is likely to display its own unique set of physical
and chemical properties, as well as responses to ageing,
environmental conditions and conservation treatments. The
presence of ‘additives’, particularly prevalent in emulsion
systems, further complicates cleaning issues, as they are
thought to remain within the paint film on drying and have the
potential to exert an influence on paint properties and
response to cleaning agents.
This research is a collaborative venture between Tate,
London, the National Gallery of Art, Washington and the
Getty Conservation Institute, Los Angeles. These issues will
be addressed through a combination of scientific analysis;
information
on
paint
formulations;
the
continued
documentation of the use of paints by artists and interviews
with modern art conservators. The analytical component will
include a detailed study of the extractable components of
acrylic emulsion paints and other analytical methods will be
used to assess changes in the physical, chemical and optical
properties of several types of modern paints on exposure to
various cleaning agents and ageing.
A significant amount of useful information is expected to be
produced from this research, which will be disseminated
widely. Any information and other contributions to any aspect
of the research are most welcome. Please contact Tom
Learner or Bronwyn Ormsby at Tate Britain.
Tom Learner: [email protected]). Phone: +44 20
78878066
Bronwyn Ormsby: [email protected]). Phone:
+44 20 78873980
Tate, Millbank, London, UK. SW1P 4RG
Evaluation des méthodes de nettoyage
des peintures modernes et
contemporaines
L’un des traitements le plus régulièrement effectué par les
conservateurs est l’extraction des couches de poussière
et/ou du vernis décoloré de la surface des peintures.
Cependant, les éléments de connaissance disponibles aux
conservateurs devant prendre des décisions quant à ces
méthodes de nettoyage se réfèrent uniquement à la peinture
traditionnelle; il n’existe pratiquement aucune information sur
les effets à court- ou long terme du nettoyage des peintures
modernes ou contemporaines.
Comprendre les effets des diverses méthodes de nettoyage
des oeuvres modernes ou contemporaines a des implications
importantes pour la conservation des oeuvres d’art, puisque
chaque type de peinture utilisé peut renfermer des propriétés
physiques et chimiques spéciales, et réagir au vieillissement,
aux conditions de l’environnement et aux traitements de
conservation. La présence d’”additifs”, et ce particulièrement
dans les systèmes d’émulsion, peut démultiplier en les
compliquant ces questions de nettoyage : on pense qu’ils se
mettent dans le film de peinture lorsqu’elle sèche et
8
pourraient potentiellement exercer une influence sur les
propriétés des peintures et réagir aux agents de nettoyage.
Ces recherches sont un projet de collaboration entre la Tate
à Londres, la National Gallery of Art de Washington et le
Getty Conservation Institute de Los Angeles. Ces questions
seront soutenues par des analyses scientifiques; information
sur les formules des peintures; documentation régulière sur
l’usage des peintures par des artistes et entretiens avec des
conservateurs d’art moderne. L’une de ces analyses sera
une étude détaillée des composants extractibles des
émulsions de peintures acryliques; d’autres méthodes
d’analyse seront utilisées afin d’observer les changements
des propriétés physiques, chimiques et optiques de différents
types de peintures modernes lors de l’exposition à des
agents de nettoyage et au cours du vieillissement.
Une quantité importante d’information sur ces recherches
sera bientôt disponible et largement disséminé. Nous
accueillons très volontiers toute information ou contribution
concernant ces recherches. Prière de contacter Tom Learner
ou Bronwyn Ormsby à Tate Britain.
The Public Restoration of Vive l’empereur
– Edouard Detaille
Stewart Laidler, Senior Paintings Conservator
Art Gallery of NSW, Sydney, Australia
The final touches, under the public’s gaze, of a project to
restore a 19th century military painting are now being applied
in the Art Gallery of NSW in Sydney. It is the result of
collaboration between the AGNSW and Canberra University
(Australia’s conservation course – now unfortunately shutting
its doors to conservation students).
The painting Vive l’empereur by Edouard Detaille depicts a
th
charge of the French 4 Hussars under Napolean, at the
Battle of Friedland, in June 1807 and was painted in Paris in
1891. Speaking of his work, Detaille said “J’ai cherché à
rendre l’effect d’un escadron chargeant sous les yeux de
l’empereur, et à reconstiuter la physionomie des hommes de
cette époque, qui s’en allaient à la mort couverts de broderies
d’or”
This magnificent painting was purchased for the gallery in
1893 and was regularly displayed in the Old Masters Courts
for the first half of the 20th century. In 1958, while off display,
the painting was damaged when the then storage was
flooded after a very heavy rain. A large area of paint on the
right hand side flaked off. At the time the Gallery’s insurance
policy did not cover internal flooding so the Board of Trustees
determined that the painting should be placed in safe storage
until funds could be raised for its conservation. In 2001 the
Gallery’s Conservation Benefactors group, ‘Friends of
Conservation’ raised over AU$100,000 to enable restoration
to take place.
Nicola Hall and Maria Kubic carried out restoration under the
guidance of course convener David Wise and Stewart
Laidler, Senior Paintings conservator, AGNSW. Tacking
margins were strengthened, tears and holes reinforced and
previously applied wax/resin carefully removed. Canvas
deformations were gently eased out by treatment with
moisture and heat while stretched on a lateral tension frame.
A new stretcher was attached and surface cleaning carried
out. An isolating varnish was applied.
Details of treatments can be seen on the AGNSW website:
http://www.artgallery.nsw.gov.au/aboutus/news/major_conser
vation_project
After seven months Vive l’empereur was returned to the
AGNSW. Andrea Nottage replaced Maria and work began on
filling and inpainting. Due to the conservation studio being
rebuilt (the painting being too large to fit in any case), it was
necessary to place Vive l’empereur in a corner gallery on a
specially built easel. This allowed access to the public who
could observe the progression of the restoration. A didactic
panel and video showing the progress thus far was placed
near the work. As well as being informative this had the
added benefit of deflecting most of the questions before they
became too disruptive.
The need for an intermediate varnish necessitated
modifications to the easel. This allowed plastic sheeting to be
draped around the work to reduce varnish overspray.
Entrances to nearby galleries were also blocked off as a
precaution. A scissor lift was used to reach the top of the
work.
What about the pros and cons of a public restoration? Once
the initial reticences of ‘being in a goldfish bowl’ are
overcome the benefits become obvious. Not only can the
public see what conservators do first hand, but also so can
the benefactors (and potential benefactors). This is important
when department resources are tight and benefactors’ money
becomes the difference between having and not having the
‘extra research’ equipment such as infrared vidicon,
microscope and FTIR spectroscope.
It also acts as a reminder to fellow colleagues in the
workplace of what happens behind the doors of conservation.
The raising of the conservation profile and hence its
importance may also be influential when dealing with things
such as contentious issues regarding artworks. ‘This work
has been requested. It must go” It’s never a bad thing, I think,
to gain some sway with curators or maybe even the Director.
The conservation of Vive l’empereur presented several
logistic problems due to the large size (376 cm x 445 cm).
The initial structural treatment was carried out in Canberra. A
purpose built wooden forma, on which the painting was
draped, was constructed to enable transportation to the
University. This allowed carriage through doorways, lifts and
onto the truck.
9
A New Database of Reflectance Spectra:
A non-invasive analytical method has been used in the
making of a searchable library of spectra from
traditional painting materials. This database presents a
collection of reflectance spectra in the 350-1000 nm
range acquired from testing layered paint structures.
The sample pictorial materials were painted out onto
small wood panels prepared with a traditional ground of
gypsum and animal glue. Combinations of pigments,
binding media, and substrates were prepared to
emulate the vast number of possible layer structures
found in traditional paintings. For example, madder was
tested not just as a pigment in linseed oil, egg tempera,
and mastic, but as a glaze over gold and silver leaf, as
well as alone and in combination with other pigments.
This database is part of the continuing collaboration
between the Restoration Laboratory of the Opificio
delle Pietre Dure and the Applied Spectroscopy
Laboratory of the Institute of Applied Physics "Nello
Carrara" of the Italian National Research Council.
http://fors.ifac.cnr.it/
Une nouvelle base de données de spectres de
réflectance
Une méthode non destructive a été utilisée pour la réalisation
d’une base de données de spectres de réflectance dans le
domaine de 350 à 1000 nm de matériaux traditionnels
employés en peinture, étendus sur des petits panneaux en
bois sur lesquels a été appliquée une préparation
traditionnelle faite de gesso et de colle animale. Différentes
combinaisons de pigments, liants et substrats ont été
préparées de manière à reproduire différentes structures qui
se retrouvent dans les peintures traditionnelles. Par exemple,
la laque de garance a été étudiée non seulement comme
peinture à l’huile avec de l’huile de lin ou à la détrempe avec
de l’œuf et du mastic, mais aussi comme glacis sur feuille
d’argent ou d’or, pure ou avec d’autres pigments. Cette base
de données de spectres a été réalisée grâce à la
collaboration entre l’Opificio delle Pietre Dure et le laboratoire
de spectroscopie appliquée de l’Institut de physique
appliquée “Nello Carrara” du CNR italien.
Un nuovo archivio di spettri di riflettanza:
Un metodo analitico non invasivo è stato usato per la
realizzazione di un archivio di spettri di riflettanza
nell’intervallo 350-1000 nm di materiali pittorici
tradizionali, stesi su piccoli pannelli di legno con una
preparazione tradizionale a gesso e colla animale.
Varie combinazioni di pigmenti, leganti e substrati sono
state preparate in modo da riprodurre diverse strutture
pittoriche che si ritrovano in dipinti tradizionali. Ad
esempio, la lacca di robbia è stata stesa non solo come
pigmento con olio di lino, tempera d’uovo o mastice,
ma anche come velatura su foglia d’oro o d’argento, sia
pura che in combinazione con altri pigmenti. Questo
archivio spettrale è stato realizzato grazie alla
collaborazione esistente tra i Laboratori di Restauro
dell’Opificio delle Pietre Dure e il Laboratorio di
Spettroscopia Applicata dell’Istituto di Fisica Applicata
“Nello Carrara” del CNR.
http://fors.ifac.cnr.it/
CESMAR7
Centro per lo Studio dei Materiali per il Restauro
Centre for the Study of Materials for Restoration
II Centro per gli studi e la ricerca scientifica sui materiali usati
nella conservazione e restauro delle opere policrome mobili
nasce dalla volontà di colmare alcune lacune esistenti nel
settore della conservazione e restauro:
• la scarsità di prodotti specifici (dai solventi agli adesivi, ecc.)
realizzati con le caratteristiche che l'impiego nel restauro
richiederebbe,
• il conseguente utilizzo di materiali creati per tutt'altre
applicazioni;
• il poco scambio di informazioni e la scarsa circolazione delle
informazioni scientifiche
• nell'ambito operativo, una condizione di prevalente
isolamento del restauratore nel suo laboratorio.
Per colmare queste mancanze, il CESMAR7 si pone
ambiziosi obiettivi:
• studio, formulazione e sperimentazione di materiali specifici,
• creazione di una banca dati per lo scambio di informazioni
in Internet,
• interscambio delle esperienze operative,
• organizzazione di convegni e gruppi di studio,
• produzione editoriale scientifica.
L'obiettivo sarà di divulgare e rendere accessibili tutte le
informazioni che possono essere utili a migliorare il lavoro dei
restauratori.
La ricerca attuale segue due tematiche:
1. Materiali per la pulitura dei dipinti
2. Minimo intervento conservativo per i dipinti
Il primo argomento è stato oggetto del Primo Congresso
Internazionale “Colore e Conservazione”, intitolato “Metodi
Tradizionali ed Innovativi nella Pulitura dei Dipinti”, svoltosi a
Piazzola sul Brenta (PD) nell’Ottobre 2002; il secondo sarà
oggetto della seconda edizione del Congresso “Colore e
Conservazione”, programmato per l’Ottobre 2004.
Comitato Scientifico: Alfredo Aldrovandi, OPD, Firenze
Fisico; Heinz Althöfer, Düsseldorf, Storico dell’arte; Giorgio
Bonsanti, Torino, Storico dell’arte, Professore universitario;
Antonella Casoli, Parma, Chimico, Professore universitario;
Ariane de la Chapelle, Louvre, Paris, Ricercatrice ; Marco
Ciatti, OPD, Firenze, Storico dell’arte; Vishwa R. Mehra,
Amsterdam, Ricercatore; Luca Uzielli, DISTAF, Firenze,
Ingegnere, Professore universitario; Erasmus Weddigen,
Bern, Storico dell’arte; Richard Wolbers, Newark, DE,
Professore universitario. Coordinatore: Paolo Cremonesi,
Padova, Chimico.
10
CESMAR7
Centre for the Study of Materials for Restoration
Via Turazza, 19 – 35128 Padova - Italy
Tel (+39) 348 321 2820 - website: www.cesmar7.it e-mail: [email protected]
The Centre for the study and the scientific research on
materials used in conservation-restoration for moveable
polychrome artworks, CESMAR7, grows out of a desire to fill
some of the existing gaps in the field of conservationrestoration:
• the scarcity of products and materials (solvents, adhesives,
etc.) created specifically with characteristics that use in
conservation requires,
• as a consequence, the widespread use of materials
developed for completely other applications,
• little information exchange and diffusion of scientific
information,
• in the workplace, the conservator-restorer remains isolated
in the laboratory.
In order to fill in these gaps, CESMAR7 is taking up an
ambitious program:
• the study, formulation and experimentation of specific
materials,
• the creation of a data bank for information exchange over
the Internet,
• the reciprocal exchange of working experiences,
• the organisation of conferences and study groups,
• a scientific editorial activity.
The main goal is to diffuse and render accessible all
information useful and necessary for improving the work of
the conservator-restorer.
Current research follows two lines of work:
1. Materials for cleaning paintings
2. Minimal structural intervention for paintings
The former topic has been the subject of the First
International Congress “Colore e Conservazione” on
“Traditional and Innovative Methods for the Cleaning of
Paintings and Moveable Polychrome Objects”, held in
Piazzola sul Brenta, Italy, on October 25-26, 2002, and the
latter will be the subject of the second edition of “Colore e
Conservazione” which is scheduled for October 2004.
Scientific Committee: Alfredo Aldrovandi, OPD, Firenze,
Physicist; Heinz Althöfer, Düsseldorf, Art historian; Giorgio
Bonsanti, Torino, University professor; Antonella Casoli,
Parma, chemist, University professor; Ariane de la Chapelle,
Louvre, Paris, Researcher; Marco Ciatti, OPD, Firenze, Art
historian; Vishwa R. Mehra, Amsterdam, Researcher; Luca
Uzielli, DISTAF, Firenze, Engineer, University professor;
Erasmus Weddigen, Bern, Art historian; Richard Wolbers,
Newark, DE, University professor. Coordinator: Paolo
Cremonesi, Padova, Chemist.
CESMAR7
Centro per lo Studio dei Materiali per il Restauro
Via Turazza, 19 – 35128 Padova - Italy
Tel (+39) 348 321 2820 - website: www.cesmar7.it e-mail: [email protected]
II Centro per gli studi e la ricerca scientifica sui materiali usati
nella conservazione e restauro delle opere policrome mobili
nasce dalla volontà di colmare alcune lacune esistenti nel
settore della conservazione e restauro:
• la scarsità di prodotti specifici (dai solventi agli adesivi, ecc.)
realizzati con le caratteristiche che l'impiego nel restauro
richiederebbe,
• il conseguente utilizzo di materiali creati per tutt'altre
applicazioni;
• il poco scambio di informazioni e la scarsa circolazione delle
informazioni scientifiche
• nell'ambito operativo, una condizione di prevalente
isolamento del restauratore nel suo laboratorio.
Per colmare queste mancanze, il CESMAR7 si pone
ambiziosi obiettivi:
• studio, formulazione e sperimentazione di materiali specifici,
• creazione di una banca dati per lo scambio di informazioni
in Internet,
• interscambio delle esperienze operative,
• organizzazione di convegni e gruppi di studio,
• produzione editoriale scientifica.
L'obiettivo sarà di divulgare e rendere accessibili tutte le
informazioni che possono essere utili a migliorare il lavoro dei
restauratori.
La ricerca attuale segue due tematiche:
1. Materiali per la pulitura dei dipinti
2. Minimo intervento conservativo per i dipinti
Il primo argomento è stato oggetto del Primo Congresso
Internazionale “Colore e Conservazione”, intitolato “Metodi
Tradizionali ed Innovativi nella Pulitura dei Dipinti”, svoltosi a
Piazzola sul Brenta (PD) nell’Ottobre 2002; il secondo sarà
oggetto della seconda edizione del Congresso “Colore e
Conservazione”, programmato per l’Ottobre 2004.
Comitato Scientifico: Alfredo Aldrovandi, OPD, Firenze
Fisico; Heinz Althöfer, Düsseldorf, Storico dell’arte; Giorgio
Bonsanti, Torino, Storico dell’arte, Professore universitario;
Antonella Casoli, Parma, Chimico, Professore universitario;
Ariane de la Chapelle, Louvre, Paris, Ricercatrice ; Marco
Ciatti, OPD, Firenze, Storico dell’arte; Vishwa R. Mehra,
Amsterdam, Ricercatore; Luca Uzielli, DISTAF, Firenze,
Ingegnere, Professore universitario; Erasmus Weddigen,
Bern, Storico dell’arte; Richard Wolbers, Newark, DE,
Professore universitario. Coordinatore: Paolo Cremonesi,
Padova, Chimico.
CESMAR7 Via Turazza 19, 35128 Padova - Italy
Tel (+39) 348 321 2820 - website: www.cesmar7.it - e-mail:
[email protected]
11
Forthcoming conferences / call for papers
31st AIC Annual Meeting
June 5-10, 2003
Arlington, Virginia
Crystal Gateway Marriott Hotel
A preliminary agenda is available at the AIC Web site,
http://aic.stanford.edu/conf.
For registration information, E-mail: [email protected] to be
placed on mailing list. AIC members will automatically
receive registration information by mail
The 32nd Annual Meeting will be held in Portland, Oregon, 914 June 2004. The theme for the proposed plenary sessions
is Cleaning of Cultural Materials. Anyone interested in
presenting a paper or poster at the meeting should contact
AIC Vice President Pam Young, [email protected] for more
information.
The Image Re-integration Meeting
2nd Triennial Conservation Conference at Northumbria
Organised by A. Jean E. Brown
Monday 15th – Wednesday 17th September 2003
For registration details and further information, please
contact:
Miss A.Jean E. Brown
Senior Lecturer
Materials for Conservation and Restoration of
Paintings: Varnish and Retouching Media
A series of lectures and workshop organised by:
The Conservation Unit, Northumbria University, Northumbria
University, Newcastle upon Tyne, UK
Date:
Wednesday, 10th – Friday 12th September 2003
Venue: Burt Hall, Northumbria University
Outline:
To coincide with the 2nd Triennial Conservation Conference at
Northumbria University, ‘The Image Re-Integration Meeting” in
the week commencing 15th September 2003, the Conservation Unit
will hold a 3-day workshop addressing recent developments in
materials for paintings conservation, specifically focusing on
varnishes and retouching materials.
The workshop will comprise a combination of lectures, discussions,
demonstrations and practical sessions in which workshop
participants will gain first-hand practical experience of new
conservation materials. Subjects to be covered will include:
Varnishes
Factors influencing the appearance of varnishes
Stabilizers for natural and synthetic resin varnishes
Synthetic low molecular weight resins (hydrogenated
hydrocarbon and urea-aldehyde) for picture varnishes
Practical considerations and experiences in the use of new
picture varnishes
Solvents for varnishes
Newcastle upon Tyne
Retouching
New retouching paints based on urea-aldehyde resins:
development, stability and reversibility
Practical considerations and experiences in the use of new
retouching paints based on urea-aldehyde resins
Retouching with acrylic resins and other media
NE1 8ST
The principle lecturers/instructors include;
Conservation
Burt Hall
Northumbria University
email: [email protected]
tel + 44 (0) 191 227 3331
fax + 44 (0) 191 227 3250
Dr. René de la Rie, Head of Scientific Research, National gallery of
Art, Washington, DC
Jill Whitten and Robert Proctor, “Whitten and Proctor Fine Art
Conservation,” Houston, Texas
Paul Ackroyd, National Gallery, London
Alan Phenix, Senior Lecturer, Conservation Unit, University of
Northumbria
For registration details and further information, contact:
Alan Phenix, Senior lecturer
Conservation of Fine Art
Burt Hall, Northumbria University
Newcastle upon Tyne NE1 8ST
United Kingdom
tel: +44 (0) 191 227 3330
fax: +44 (0) 191 227 325
12
Verband der Restauratoren (VDR)
SURFACE CLEANING
Material and Methods
Alternatives to lining
September 19th 2003
Tate Britain, Millbank, London UK
Co-organised by UKIC paintings section and BAPCR
(formerly ABPR)
Organisers Mary Bustin and Tom Caley
This conference seeks to pick up on the recent interest in tearmending and repair of canvas paintings. The development of the
conservation profession has seen a continuous move towards more
specific and smaller scale types of intervention. Lining is rarely
desirable, and not always appropriate. The painting may
have lost its structural integrity through tears, or weak tacking
edges, and planar distortions may disrupt the reading of the image.
The conservator may ask whether these can be corrected with
minimal change to the original structure. The conference will look
at some of these issues and present new solutions. The areas
covered will be new work on understanding tension in a stretched
canvas system, and methods developed in mainland Europe on
minimal
ways to recoup tension across tears including methods such as
thread-by-thread repair or stitching.
Speakers will include:
Paul Ackroyd, Alan Phenix, Christina Young, Professor Winfied
Heiber, Simon Bobak, Jim Dimond, Adriana Rizzio, Aviva
Burnstock,
Elizabeth Bracht
Call for posters:
Posters are invited on practical examples of the structural repair of
canvas paintings. The aim is to complement the days talks with
specific examples of treatments. This may be of a canvas that had to
be lined, or re-assembly of a divided painting, or complex tears, or
a weakened canvas etc.
29th September to 4th October 2003,
Düsseldorf, Germany
The cleaning of surfaces is one of the most common duties
of conservators, and hence of immediate interest to all areas
of restoration practice. The range of activities extends from
removal of loosely adhered dust to reduction of corrosion
products. Treatments vary from straight forward to more
challenging and sometimes almost impossible cleaning
tasks. The aim of the conference is to contribute to the
development of sensitive and effective cleaning methods
through the encouragement of an interdisciplinary view of
this topic. The focus is on observations and findings based
on practical examples and the results of research in the field
of surface cleaning.
Conservators, scientists and art historians of all disciplines
are invited to participate with relevant contributions to the
conference.
The following topics are planned:
- Dirt - artists intention and patina
- Identification of dirt
- Techniques of identification and analysis
- Damage phenomena - investigation and conservation
concepts
- The nature of dirt films, surface textures and mechanisms
of deposition
- Treatment possibilities: choice of materials, procedures and
techniques
The languages will be German and English.
For further information please contact:
VDR-Office, Dr. Sabina Fleitmann, Haus der Kultur,
Weberstraße 61, D-53113 Bonn,
Tel.: +49 (0) 228/2437366, Fax: +49 (0) 228/2619669, EMail: dirt@restauratoren
Contacts;
Mary Bustin [email protected]
Tom Caley [email protected]
ICOM-CC 2005
The theme for the 14th Triennial Meeting in the Hague, the
Netherlands, is described as “Our cultural past – Your future!”
The 14th Triennial Meeting of ICOM's Committee for
Conservation will take place in The Hague, The Netherlands,
12-16 September 2005. The Netherlands Congres Centrum,
the home of the annual North Sea Jazz Festival, is the venue.
The hosts are the Netherlands Institute for Cultural
Heritage/Instituut Collectie Nederland (ICN); The Dutch
Conservator-Restorers organisation (VeRes); ICOMNetherlands; The Hague city government, and the
conference shall be organized by The Hague Visitors and
Convention Bureau in collaboration with the Nederlands
Congres Centrum.
Apart from a week full of high quality presentations on issues
relating to every aspect within the conservation field, ranging
13
from ancient to contemporary art, from natural history over
rock art to modern materials and plastics, plenary sessions
will be devoted to conservation and the public.
The main subject of this ICOM-CC 2005 Triennial Meeting
shall have as its goal the exploration and design of different
strategies and methods to achieve an active involvement of
the public in the integral process of Cultural Heritage and its
preservation.
In order to advance the future of the preservation of Cultural
Heritage it is imperative to achieve the understanding,
acceptance and thus the support of the public in the activities
it generates. This can only be done by the promotion of their
active participation in the dynamics of the conservation
efforts. In these new times, the profession must become
more transparent, accepting and interactive with the
community it serves.
This is a two-way approach when the conservation
professionals and decision-makers have to change traditional
attitudes towards the public and the public needs to
understand the decision process and the reasoning guiding
conservation. Only then can they support it consciously and
participate in the preservation of their own Heritage.
Jørgen Wadum
Chair of ICOM-CC
ICN international courses and
masterclasses for conservators 2003
Analytical techniques in conservation
Content:
This course is designed to provide participants with an
updated general overview of a number of important analytical
techniques used in conservation, including their general
principles and their application to specific conservation
needs. Several of these techniques may be directly applied
by trained conservators; others require sophisticated
instrumentation and are normally carried out by experienced
conservation scientists. The goal is not to become
conservation scientists after the course, but to provide
information on the importance and practical application of
these tools, their scope and limitations, and the kind of
information to be expected as a result. The course proposes
to answer the following conservator's questions: when would
I use it, why would I use it, and what information will I gain
that will help in making conservation treatment decisions.
Targetgroup:
Mid-career conservators (all disciplines)
and entry-level conservation scientists. The course has as its
goal to contribute to a better and critical understanding of
current conservation research literature and thus to an
improved dialogue between conservators and conservation
scientists.
Participants will be selected from the pool of applicants and
notified of their acceptance by June 2003.
Courses
Date:
14-17, 20-23 October 2003
Instructors:
Janice Carlson (senior scientist, Winterthur
Museum, Delaware USA), Jan Wouters (head of laboratory
for materials and techniques, KIK, Brussels), scientists ICN
Participants:
14
Location:
Instituut Collectie Nederland,
Amsterdam
Study material: Reader
Price:
Euro 1595,FOR INFORMATION ON THE MASTERCLASSES,
CONTACT:
ICN
Angeniet Boeve ([email protected]) or
Monique de Louwere ([email protected]
Gabriel Metsustraat 8
1071 EA Amsterdam
TEL: 00-31-20-3054620
FAX: 00-31-20-3054620
AIC Professional Development
The AIC is now producing mid-career training programs for
conservational professionals, funded by the FAIC
Endowment for Professional Development, which is
supported by The Andrew W. Mellon Foundation and by
contributions from members of AIC. Many of the workshops
are conducted in partnership with other organizations. For
information on the workshop grants contact:
Eric Pourchot,
Program Officer for Professional Development
American Institute for Conservation of Historic and
14
Artistic Works, 1717 K St. NW, Suite 200,
Washington, D.C. 20006
Tel.: 202 452 9545, ext. 12
[email protected]
Fellowships
Conservation Scientist
Tate, London
Job posting
Senior paintings conservator/assistant director of
conservation
The Fine Arts Conservancy, Florida, U.S.A.
FAC seeks a highly skilled senior conservator. Duties include
examination, technical analysis, written and photographic
documentation and treatment of traditional and contemporary
works. Will perform highly skilled tasks requiring manual
dexterity (emphasis on color matching, fills and in-painting),
intense concentration, and aesthetic sensitivity. The position
also involves developing and maintaining client relationships,
and supervising support personnel. Incumbent will work
under the direction of the Director of Conservation, and
interface with senior administrative personnel.
With 5000 square feet of modern, well-equipped laboratories,
FAC is a highly regarded facility providing conservation
services to collectors, museums, historical societies and
insurers throughout the southeast with some national and
international clientele. There is a staff of 5 augmented with
contract conservators, art handlers and installers, packers
and shippers.
Minimum qualifications: graduate degree from a recognized
program with 5 year’s (conservator) to 8+ year’s (senior
conservator) experience in traditional and contemporary
paintings; U.S. citizenship or working permission; fluent in
spoken and written English; strong interpersonal skills. Must
have physical strength to lift large and heavy art works,
crates, etc..
Ideal candidate: also skilled and knowledgeable in digital
photography and graphics software (lab has dual screen
Apple G4’s with Photoshop and Thumbs), an established
understanding of three-dimensional objects; fluent in both
Spanish and English. Knowledgeable in modern and
composite materials a definite advantage.
Salary: $40 – 55,000; salary will be determined based upon
qualifications and experience. This one-year appointment
does not include benefits. Multiple extensions may be
possible; permanent position with benefits possible postappointment; equity position (with equity investment) possible
in future but not required. Continued education opportunities,
nationally and internationally, with extension or permanent
position.
Letters of intent, resume, supporting materials and
references, please. Current employment will be kept
confidential and not be contacted prior to mutual agreement.
Selected candidates will be invited to interview and asked to
submit a portfolio of projects.
Visit our web site for more information about us: www.artconservation.org.
Submit resumes to:
G. Erazo
Director of Conservation
The Fine Arts Conservancy
5840 Corporate Way
West Palm Beach, FL 33407
Salary range: UKP19,077-21,256
Two-year fixed term contract
Tate is world-renowned for its work on the technical
investigation, conservation and restoration of 20th Century
international art and British Art from the 16th Century
onwards.
This position has been created as part of a newly funded
research project into cleaning techniques of modern
paintings. It presents you with a rare opportunity to acquire
specialist skills and knowledge in the analysis of modern and
contemporary paints, while participating in a unique
international collaboration with other conservation research
laboratories. Your primary responsibility will be to assist a
senior conservation scientist in developing analytical
protocols for the characterisation of modern materials
using GC (gas chromatography), PyGCMS (pyrolysis – gas
chromatography - mass spectrometry) and FTIR (Fourier
Transform infrared microscopy). These techniques require
modification to improve the quality and quantity of analysis of
paint samples from works in the Tate Modern collection.
To be eligible for this fellowship you must have a PhD in
chemistry or a physical science and at least three years'
experience in one or more of the specified analytical
techniques. A proven record of publications is a must, and
you should be keen to get involved in publishing our findings
and presenting them at conferences.
For an application pack, please visit
<URL:http://www.tate.org.uk>
or email [email protected] quoting ref. 2141/CR.
Closing date is April 11, 2003.
Tate is working towards equal opportunities
Andrew W. Mellon Position in
Conservation Science and Paintings Conservation
Worcester Art Museum, Worcester, MA, USA
The Worcester Art Museum is seeking applicants for a joint
position in paintings conservation and conservation science.
This position is designed for a paintings conservator with a
strong interest and a demonstrated potential in conservation
science and technical research. The candidate should have a
Ph.D. in one of the sciences (or be committed to pursuing
such a degree), and be dedicated to working with paintings. A
graduate degree in conservation from a recognized training
15
program and a minimum of 5 years experience as a museum
paintings conservator are also required.
With the support of the Andrew W. Mellon Foundation, the
Worcester Art Museum has recently taken the initiative to
develop a conservation science program. The Museum is in
the process of acquiring significant scientific instrumentation
including, an X-ray fluorescence spectrometer, a Fourier
transform infrared microspectrometer and infrared imaging
equipment. The candidate will develop the scientific potential
of the Conservation Department, while also being involved in
the care of paintings. Those candidates not in possession of
a Ph.D. would be expected to enroll in a Ph.D. program as
soon as possible. Excellent interpersonal and public speaking
skills are essential, as are strong organizational and writing
abilities.
This is a four-year program beginning June 15, 2003. Starting
salary is $38,000 plus an allowance for travel, directed
research projects and conferences. Full employee benefits
are also included. Please submit a cover letter and resume
to:
Tracy Provo
Director of Human Resources
Worcester Art Museum
55 Salisbury Street
Worcester, MA 01609
Deadline for application is May 15, 2003. The Worcester Art
Museum is an Equal Opportunity Employer.
Drawing on the combined expertise of conservators,
scientists and art historians, ArtMatters brings together a
wealth of information about artists' materials, techniques and
studio practice, from different periods and disciplines.
ArtMatters goes beyond the pure identification of materials. It
addresses the connection between the artist's methods and
intentions, as well as the relations between changes in style,
technical developments and materials available, all set
against an art historical context.
ArtMatters provides fascinating accounts of the artist at work.
The articles illustrate the significant role the study of
techniques and materials can have within art historical
research and its various philosophical approaches towards
the understanding of art works.
ArtMatters creates illuminating insights into the artist's original
intention and its material expression, insights that
characterize current conservation research as a whole.
ArtMatters is therefore an invaluable resource for art
historians, conservators, collectors, and all those interested in
the making of artworks.
Index to the 1st volume (2002)
* Two unknown wings from a triptych by the Master of the
Antwerp Adoration; by Peter van den Brink.
* Questions and answers: The technical examination of
polychrome terra cotta sculptures by Johan Georg van der
Schardt; by A. Wallert.
* "Dou doesn't paint, oh no, he juggles with his brush" Gerrit
Dou a Rembrandtesque 'Fijnschilder'; by J. Wadum.
* Dissolution, aggregation and protrusion. Lead soap
formation in 17th century grounds and paint layers; by P.
Noble, J.J. Boon and J. Wadum.
* The metamorphosis of Diana: a new interpretation of the
young Vermeer's painting technique; by E. Kolfin, C.
Pottasch, R. Hoppe.
* Five silver plaquettes made by the Flemish silversmith
Mathias Melin; by J. van Bennekom.
* A travel experience: the Corot painting box, Mathijs Maris,
and some 19th century tube paints examined; by E.
Hermens, A. Kwakernaak, K.J. van den Berg.
* A ritual umbrella mask from the Bismarck Archipelago; by A.
Wallert, K. van den Meiracker.
* Book reviews
Publishers: Foundation ArtMatters in collaboration with
Waanders Publishers. Chief editor: Erma Hermens; Editorial
board: Klaas Jan van den Berg, Paul van Duin, René
Hoppenbrouwers, Ysbrand Hummelen, Jørgen Wadum, Arie
Wallert.
Recent and forthcoming publications
Bibliographical details: ArtMatters - Netherlands Technical
Studies in Art . ISBN 90 400 8728 8
128 pages, 120 colour & 50 black /white illustrations; 20 x 26
cm, paperback.
'ArtMatters - Netherlands Technical
Studies in Art'
How to order: ArtMatters is available through local
booksellers in The Netherlands as well as abroad, directly
from Waanders Publishers http://www.waanders.nl/eng/
or from Archetype Books. [email protected]
The 1st volume of the yearbook 'ArtMatters - Netherlands
Technical Studies in Art' presents a collection of lavishly
illustrated articles by important scholars working in the
interdisciplinary field of technical art history.
Microspectroscopic analysis of traditional
oil paint.
Jaap van der Weerd
Paperback. 198 pages.
16
This is a recent publication from the MOLART project in the
Netherlands. It focuses on the application of microscopic
imaging techniques in the analysis of paint samples.
More information is available at [email protected]
.
ICOM-CC 2002 Pre-prints
NOW available at ICCROM:
This two-volume publication offers a unique opportunity to
discover the current status of activity world-wide and across
the full range of conservation disciplines at the highest level:
ICOM-CC Pre-prints of the 13th Triennial Meeting, Rio de
Janeiro, 22. September - 27 September 2002.
Edited by Roy Vontobel ; ICOM Committee for Conservation.
London : James and James, 2002. 2 volumes : x, 962 p., ill.,
index. 34. Poster session abstracts. ISBN 1-902916-30-1.
Our special price, limited to 50 volumes only, is US$ 135,00 +
postage.
To order / pour commander :
ICOM-CC Pre-prints
Publication Sales ICCROM
Via di San Michele 13
00153 Rome RM, Italy.
tel: (0039) 065855-3372
fax: (0039) 065855-3349
e-mail: [email protected]
Personal Viewpoints
Thoughts about Paintings Conservation
Edited by Mark Leonard.
The papers presented in this book, originally presented at a
recent seminar organized by the Getty, explore the values,
assumptions, and goals that shape the work of paintings
conservators. Six conservators, three curators, and a
conservation scientist candidly reflect on the challenges in
approaching specific works of art. Each conservator
describes a successful conservation effort, as well as a
project that, in retrospect, might have been approached
differently. Their insights, the responses of the curators and
conservation scientist, and the panel discussions contribute
to a thoughtful analysis of the ever-evolving art and science
of paintings conservation.
Mark Leonard is conservator of paintings at the Getty
Museum. Contributors include David Bomford, senior restorer
of paintings at the National Gallery, London; Philip Conisbee,
senior curator of European paintings at the National Gallery
of Art, Washington, D.C.; Carol Mancusi-Ungaro, director od
conservation at the Whitney Museum of American Art;
Andrea Rothe, formerly senior conservator for special
projects at the Getty Museum; Ashok Roy, head of the
scientific department of the National Gallery, London; Scott
Schaeffer, curator of paintings at the Getty Museum; Zahira
Véliz, freelance conservator and independent art historian;
Jørgen Wadum, chief conservator of paintings at the Royal
Cabinet of Paintings, Mauritshuis, The Hague; and John
Walsh, director emeritus of the Getty Museum.
Getty Conservation Institute. 128 pages. 53 color and 20 b/w
illustrations. ISBN 0-89236-698-2, paper, $ 29.95.
Available in July 2003.
Billmeyer and Saltzmann’s PRINCIPLES
OF COLOR TECHNOLOGY
Roy S. Berns. Third Edition 2000.
This third edition has been written by Roy Berns of the
Munsell Color Science Laboratory, a pupil of Millmeyer and
Saltzmann, following two guiding principles: Keep it simple
and emphasize the principles. The new edition ‘takes into
account the color imaging community (printing, desktop
publishing, electronic imaging and digital photography) –
added to the color-matching community (textiles, paints and
plastics)’.
Hardback, 250 pages, illustrated in color.
Price: 73.50 GBP; $ 115 USD
For more information visit [email protected]
Review of Masterpiece of Deception: an
art mystery by Judy Lester, Sumach Press,
2001, 179pp.
Joyce Townsend, Tate
The author herself describes this as ‘an airport novel’ and
says that any reviewer should answer the question: would
you leave it in the seat pocket or pass it to a friend? I would
pass it to a friend.
It’s probably the first novel written by a conservator, about
conservation, and with the author’s real name on the back.
There’s a photograph too, of Dr Leslie Carlyle of CCI,
currently working as a project leader for the De Mayerne
project in The Netherlands. This is her first novel, and she
wrote it while her better-known book The Artist’s Assistant
(Archetype, 2001, 589pp.) was in course of publication.
I must admit to being a close friend of the author, and to
hearing how the writing and publishing was going, over a long
period, though she didn’t let me see the text until it was
published. It will be of interest to anyone who knows little
about conservation, since the book gives a clear picture of
what a ‘bench conservator’ does, including that soulsearching while treating a problematic painting. I might have
guessed from reading it that the main character is Canadian,
and in fact she shares some character traits with my friend
Leslie, one of which is a great love of cats. The cats are an
important and fun element of the book, and if you know cats
well they are telling the reader who is the bad ‘un. I’ve met
their prototypes several times, and they are very well-drawn.
It’s tempting to wonder if I’ve met the prototypes of any other
characters in the book as well, and any conservation reader
is bound to ponder the same idea – though I don’t know of
any conservators and conservation scientists who lead such
alarming lives as the main characters. Which is probably just
as well. There is of course, a disclaimer that all the
characters are fictitious.
It’s a fast-moving story. Once you reach the last few pages
it’s far too dramatic to fall asleep over, and any little quibbles
like how did Jerry get her false identity and passport so
quickly? fade out of mind, just as they should when you’re
having a good read. Buy it at the National Gallery bookshop
in London, or through amazon.co.uk, or look for it in the trade
fair at conferences.
17
Cleveland Museum of Art
http://www.clevelandart.org/exhibcef/consexhib/html/
C4sche.html
Internet News / websites
Seattle Art Museum
The Seattle Art Museum has launched an interactive
conservation website which provides a brief introduction to
paintings conservation for their museum visitors. It can be
viewed not only on the web, but also in kiosks in the S.A.M.
temporary exhibition galleries. The content is based upon the
findings of conservators from the San Francisco Museum of
Modern Art, who examined several important Mexican
modernist paintings from the Jacques and Natasha Gelman
Collection for an international travelling exhibition.
You can search for this site at seattleartmuseum.org, or you
should be able to go directly to the interactive conservation
site for the Gelman Collection at this location:
Reflectance spectra
Comparative reflectance spectra for pigments and binding
media in complex combinations and layer structures.
http://fors.ifac.cnr.it
Back issues of the Getty Conservation Institute journals
may be found at:
http://www.getty.edu/conservation/resources/newsletter.html
Professional development in conservation through
International Academic Projects, based in London.
http://www.academicprojects.co.uk
http://www.seattleartmuseum.org/exhibit/interactives/mexican
Modernism/enter.asp
IGIIC, Italian group of International Institute for
Conservation
The National Gallery of Australia
Links to other websites that have information about infrared
reflectography.
www.nga.gov.au/Red/Index.htm
The public restoration of Vive l’empereur by Edouard Detaille
at the Art Gallery of NSW, Sydney, (as presented in the
article by Stewart Laidler in this newsletter) can be visited at:
http://www.artgallery.nsw.gov.au/aboutus/news/major
conservationproject
IGIIC has been founded in 2002. The first national congress
“The condition of art:Conservation and restoration”, will be
held in Torino, at Villa
Gualino Congress Centre, from 5 to 7 June 2003.
The congress will give a view on conservation related issues
focusing on the exchange of information and experience
among all operators.
At the same time, IGIIC opens the associative campaign for
2003. All information on IGIIC, on its initiatives and on the
national congress are available at the following WEB address
<http://www.igiic.org/> www.igiic.org
On-line registration forms are available at the same address.
The National Gallery, Washington, D.C.
The National Gallery’s website on the Feast of the Gods.
http://webexhibits.org/feast/
Some useful resources for digital imaging information
include:
www.tasi.ac.uk – a comprehensive digital imaging site
www.imaging-resource.com - especially for digital
camera reviews
www.vips.ecs.soton.ac.uk – for vips and nip downloads
and information
www.echeng.com/photo/infrared/ - for digital
infrared photography
The full texts of all issues in volumes 16-38 (1997-2000) of
the Journal of the American Institute for Conservation
are available in electronic format and can be downloaded at
no charge at http://aic.stanford.edu/pubs.
The International Network for the Conservation of
Contemporary Art (INCCA)
The International Network for the Conservation of
Contemporary Art (INCCA) is a network for the
conservation community. The website provides allround information for professionals and for visitors
with a general interest in the conservation of modern
and contemporary art. The website can be found at:
http://www.incca.org/
The Institute of Conservation Science, UK
18
The homepage of the recently formed Institute of
Conservation Science can be found at:
http://www.instituteofconservationscience.org.uk
ICOM Membership Application forms
The application forms to join the International
Committees and Affiliated Organisations are now
available on the ICOM Web Site at:
http://www.icom.org/affiliates.html
http://www.icom.org/internationals.html
Icons website
The new website for the Icons research area can be
found at: http://bentchev.tripod.com/ICOM.html
ICOM UK: http://www.mda.org.uk/icom-uk
Back issues of the Getty Conservation Institute Newsletter
may be accessed at:
http://www.getty.edu/conservation/resources/newsletter.html
Les formulaires pour adhérer aux Comités
internationaux et aux Organisations affiliées sont
maintenant disponibles sur le site Web d'ICOM à:
http://www.icom.org/affiliees.html
http://www.icom.org/international-f.html
Newsletter Notes
The conservation and technical examination of Ethiopian
Icons at the African Art Museum can be found at:
www.nmafa.si.edu/exhibits/icons
CESMAR7
Centro per lo Studio dei Materiali per il Restauro
A non-profit research association, based in Padova. Visit the
site www.cesmar7.it, The site is in Italian, but it will soon be
updated into English as well.
Electronic mail
In an effort to save costs in producing and distributing
this Newsletter we want to circulate it as far as we can
by e-mail. For this to be successful we need as many
confirmed and new emails as possible. Please send
your e-mail address, now !!! to :
Joyce Townsend : [email protected].
Courriel
Nous cherchons à économiser temps et argent dans la
production et l’envoi de notre chronique, aussi
souhaitons-nous l’envoyer par courriel à tous ceux qui
ont accès à ce moyen de communication. Veuillez
SVP nous communiquer maintenant votre adresse
électronique !
Special thanks to our contributors and our three
translators : Marie Claude Corbeil, Helene Dubois, and
Sophie Dijan. Special thanks to Alan Phenix for
providing advice and the template for the newsletter.
Nos remerciements aux personnes qui ont soumis
des articles et à nos trois traducteurs, Marie-Claude
Corbeil, Hélène Dubois et Sophie Dijan. Un merci tout
spécial à Alan Phenix pour ses conseils et pour avoir
fourni le modèle pour ce bulletin.
Submissions welcome!
All submissions related to paintings conservation
welcome! We are interested in regional and
international news regarding conferences, research,
publications, and projects. Please feel free to write the
submission in your native language and it will be
published with a translation.
Membership information
Articles demandés!
Tout article relié à la conservation des peintures sera
le bienvenu! Nous nous intéressons aux nouvelles
régionales et internationales touchant les congrès, la
recherche, les publications et les projets. N’hésitez
pas à écrire vos articles dans votre langue maternelle
et nous les publierons accompagnés d’une traduction.
For submissions to the newsletter please contact:
Pour soumettre un article pour le bulletin veuillez
prendre contact avec :
19
Tiarna Doherty
Paintings Conservation
J. Paul Getty Museum
1200 Getty Center Drive, Suite 1000
Los Angeles, CA 90049
Tel.: 310 440 6118
[email protected]
Contact Addresses
Adresses contact
PAINTINGS: SCIENTIFIC STUDY, CONSERVATION
AND RESTORATION
Jacqueline Ridge,
Working group co-ordinator
[email protected]
Conservation Department, Tate
Millbank, London SW1P 4RG
Tel.: +44 (0) 20 7887 8071
Fax: + 44 (0) 20 7887 8059
Anne Rinuy
Working group co-ordinator
[email protected]
Laboratoire de recherche
Musées d’art et d’histoire
CP 3432 CH-1211 Genève 3,
Switzerland
Tel: + 41 22 418 25 22
Fax: + 41 22 418 26 01
Joyce Townsend
Assistant co-ordinator
[email protected]
Conservation Department, Tate
Millbank, London SW1P 4RG
Tel.: +44 (0) 20 7887 8072
Fax: +44 (0) 20 7887 8051
Gunnar Heydenreich
Assistant co-ordinator
[email protected]
Restaurierungszentrum Düsseldorf
Ehrenhof 3a, 40479 Düsseldorf,
Germany
Tel.:
Fax: +49 211 892 9050
Tiarna Doherty
Assistant co-ordinator
Newsletter
[email protected]
Paintings Conservation
J. Paul Getty Museum
1200 Getty Ctr. Dr. Suite 1000,
Los Angeles, CA 90049
Tel.: (01) 310 440 6118
Fax: (01) 310 440 7745
ICOM-CC SECRETARIAT
Isabelle Verger
[email protected]
ICOM website: www.icom.org
C/o ICCROM
13 via San Michele
00153 Roma
Italy
20