By Joyce Hill Stoner, Rebecca Rushfield
Conservation of Easel Paintings is the 1st finished textual content at the heritage, philosophy, and techniques of remedy of easel work that mixes either idea with perform.
With contributions from a world crew of specialists and interviews with very important artists, this quantity offers an all-encompassing advisor to priceless history wisdom in technical artwork historical past, artists' fabrics, clinical equipment of exam and documentation, with sections that current various ways and strategies for therapy, together with consolidation, lining, cleansing, retouching, and varnishing. The ebook concludes with a bit that includes problems with preventive conservation, garage, transport, exhibition, lighting fixtures, issues of safety, and public outreach.
Conservation of Easel Paintings is a vital source within the education of conservation scholars and may supply generations of training work conservators and artwork historians, curators, administrators, creditors, buyers, artists, and scholars of paintings and artwork background with helpful details and guidance.
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Additional info for Conservation of Easel Paintings
Lomazzo, an important art theorist and a practising painter, followed Alberti’s example in using classical rhetoric, firmly positioning painting among the liberal arts. As mentioned above, in addition to these works, translations and discussion of a number of sixteenth- and seventeenth-century treatises may be found in Merrifield (1849). 14 French treatises (see Appendix III) Until the establishment of the Académie Royale de Peinture et de Sculpture in 1648, workshops and guilds (corporations of artisans) were the basic units of artistic organization in France, and the practical side of the craft of painting was passed on mainly through word of mouth from master to pupil.
Under the chancellorship of the painter Charles Le Brun (1619–90) and with the protection of the French King Louis XIV (who wished to demonstrate his power through patronage of the arts), the French Royal Academy developed into a much more influential organization than its Italian ‘mother academies’, becoming a state monopoly. As a result most authors on painting and painting techniques were influenced by academic thinking, which prioritized content, not painterly quality. This began to change by mid-eighteenth century, but in the seventeenth century, the act of painting itself was considered basically mechanical – compositions were to be created first in the head, then transferred to canvas in an almost prescribed formula: 1.
Ian McClure is the Chief Conservator at Yale University Art Gallery, USA, and is developing a Conser- vation Center for all of Yale University’s collections. Previously he directed the Hamilton Kerr Institute at Cambridge University, England, after training and working at Glasgow Art Gallery, Scotland. Mary McGinn is Paintings Conservator at Winterthur Museum and Adjunct Associate Professor for the Winterthur/University of Delaware Program in Art Conservation. She has a special interest in decorative painted surfaces, and has published on painted furniture and reverse painted glass.