Conservation of Easel Paintings by Joyce Hill Stoner, Rebecca Rushfield

By Joyce Hill Stoner, Rebecca Rushfield

Conservation of Easel Paintings is the 1st accomplished textual content at the heritage, philosophy, and techniques of therapy of easel work that mixes either thought with perform.

With contributions from a world team of specialists and interviews with vital artists, this quantity offers an all-encompassing advisor to useful history wisdom in technical paintings historical past, artists' fabrics, clinical equipment of exam and documentation, with sections that current various methods and techniques for therapy, together with consolidation, lining, cleansing, retouching, and varnishing. The ebook concludes with a piece that includes problems with preventive conservation, garage, delivery, exhibition, lights, issues of safety, and public outreach.

Conservation of Easel Paintings is an important source within the education of conservation scholars and may supply generations of working towards work conservators and paintings historians, curators, administrators, creditors, buyers, artists, and scholars of artwork and paintings background with helpful details and guidance.

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Maartje Stols-Witlox is an art historian, paintings conservator, and lecturer in paintings conservation at the University of Amsterdam, Netherlands. Her most recent publications focus on historical ground recipes for oil painting, historical lead white processing, and historical conservation recipes. Joyce Hill Stoner, Rosenberg Professor in the Art Conservation Department at the University of Dela- ware/Winterthur Museum, where she has taught since 1976, was awarded the American Institute for Conservation’s Lifetime Achievement award in 2003 and the CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation in 2011.

Nevertheless, there is a greater variety of regions and dates represented than is commonly assumed, much of which is barely exploited. e. ) terminology and synonyms. 8 Financial and legal documents With treatises and recipes it is often difficult to determine precisely where, when, by whom, and on what objects the techniques described were practised. Consequently, dated, signed, locatable documents (referring to identifiable commissions, towns, and individuals) provide extremely useful complementary and comparative material.

Karin Petersen began research on biodeterioration in 1985, in cooperation with Wolfgang E. Krum- bein at Oldenburg University. For more than 20 years she has taught Biodeterioration of Cultural Property at Hildesheim University of Applied Science and Art. Alan Phenix has been a scientist at the Getty, Conservation Institute (GCI), Los Angeles, since 2006, where he works mostly on paint analysis in both modern/contemporary art and old master paintings. Prior to joining the GCI, he was a practising conservator and conservation educator in the university sector in Britain.

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