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The most authoritative publication in nearly fifty years on the subject of conserving paintings on canvas. In 2019, Yale University, with the support of the Getty Foundation, held an international conference, where nearly four hundred attendees from more than twenty countries gathered to discuss a vital topic: how best to conserve paintings on canvas. It was the first major symposium on the subject since 1974, when wax-resin and glue-paste lining reigned as the predominant conservation techniques. Over the past fifty years, such methods, which were often destructive to artworks, have become less widely used in favor of more minimalist approaches to intervention. More recent decades have witn...
Author David Saunders, former keeper of conservation and scientific research at the British Museum, explores how to balance the conflicting goals of visibility and preservation under a variety of conditions. Beginning with the science of how light, color, and vision function and interact, he proceeds to offer detailed studies of the impact of light on a wide range of objects, including paintings, manuscripts, textiles, bone, leather, and plastics. With analyses of the effects of light on visibility and deterioration, Museum Lighting provides practical information to assist curators, conservators, and other museum professionals in making critical decisions about the display and preservation of objects in their collections.
Of recent developments in wet surface cleaning systems, A: unvarnished modern and contemporary painted surfaces / Bronwyn Ormsby...[et al.]. Cleaning off liquefying paint / Line Blomsterberg Andersen, Katarina Havermark and Kathrine Segel. In search of a solution for softening and weeping paints in contemporary paintings / Anna Vila...[et al.]. Lascaux acrylic dispersion 498HV and Medium for Consolidation 4176 used as consolidants in two very different practical case studies / Jim Dimond. Laropal A81 as an alternative to MS2A and other resins / Sophie Reddington. Kinesio tape: conservation science meets sports medicine / Anna Krez. Vibration management for canvas paintings: a review of rigid...
"The papers in this volume were presented at the Icon Publishing Group conference 'Appearance and Reality: Examining Colour Change in Paintings' which attempted to present an overview of the current state of research related to colour change in paintings, ranging from Old Masters to modern art. The contributors addressed not only analytical investigation into changes in painting materials, but also methods of assessing colour change, lighting paintings, alternative methods of display, and different approaches to the restoration of paintings whose colour and tonality have shifted."--Page 4 of cover.
This volume contains the papers presented at the ICON Paintings Group conference 'Wet Paint - Interactions between Water and Paintings' held in Edinburgh on 12th October 2018.0There are many ways in which water and humidity can physically alter paintings, sometimes with disastrous effect e.g the staining of canvases; flaking and blanching paint; warping of wooden panels and cockling canvas supports. However, water is also a useful material for conservators that can be employed in the treatment of painted surfaces in the form of aqueous cleaning solutions, moisture treatments to reduce deformations and as a carrier for adhesives.
The conference papers in this volume give an overview of current requirements, practice and innovation in the use of adhesives and consolidants in paintings conservation.
The inside story of one of the greatest ever rescues of a country house, which transformed a family seat into a renowned school and National Trust site. The restoration of Stowe House and development of the surrounding estate by Stowe School, allied to work in the landscape gardens by the National Trust, is one of the greatest rescues of a country house ever achieved. The ancestral home of the Temple-Grenvilles came close to demolition in 1920, when the entire site was put up for sale. The formation of Stowe School in 1923 secured a future use that maintained the traditions of the Enlightenment with its unrelenting quest for knowledge and understanding. The past 94 years have seen innovation...
Women, Men and Language has long been established as a seminal text in the field of language and gender, providing an account of the many ways in which language and gender intersect. In this pioneering book, bestselling author Jennifer Coates explores linguistic gender differences, introducing the reader to a wide range of sociolinguistic research in the field. Written in a clear and accessible manner, this book introduces the idea of gender as a social construct, and covers key topics such as conversational practice, same sex talk, conversational dominance, and children’s acquisition of gender-differentiated language, discussing the social and linguistic consequences of these patterns of talk. Here reissued as a Routledge Linguistics Classic, this book contains a brand new preface which situates this text in the modern day study of language and gender, covering the postmodern shift in the understanding of gender and language, and assessing the book’s impact on the field. Women, Men and Language continues to be essential reading for any student or researcher working in the area of language and gender.
“This book constitutes a very welcome contribution to the public appreciation and scholarly study of Henry Ossawa Tanner, a painter of considerable significance in both Europe and America, and one whose religious imagery merits careful consideration. These well-researched essays by an international team of scholars offer substantial reflections on complex issues of race and religion, and situate the artist’s work and career within the context of his life and times. This is a robust framing of Tanner as a cultural phenomenon and one that readers will find quite rewarding.”—David Morgan, Professor of Religion at Duke University and author of The Embodied Eye: Religious Visual Culture a...
The strange story of Harvard's Rothko murals has become part of the legend of contemporary art. Staff at Harvard Art Museums' Center for Conservation and Technical Research oversaw repairs and remounting of these large yet fragil works in preparation for a major exhibition at the Arthur M. Sackler Museum in August 1988. They were removed from the dining room of Harvard's Holyoke Center where they had hung since 1963 (a gift from the artist), suffering from tears, stains, graffiti, and severe color shifts from exposure to sunlight and instability in the artist's materials.(Harvard University Art Museums)