Pensum til emneansvarliges forelesninger. Gjesteforelsere vil supplere de ?vrige.
Forelesning 03.02.09
Lerretsmaleri:
Carr, D.J., Young, C.R.T, Phenix, A. & R.D. Hibberd, Development of a physical model of a typical 19th-century English canvas painting, Studies in Conservation 48, no. 3 (2003), 145-154. [5] [accelerated aging, canvas, lining, mechanical properties, paintings]
Weniger, Matthais, The Dresden remains of the Galerie Espagnole: a fresh look (at the) back, Manet/Velázquez: the French taste for Spanish painting, Yale University Press (2003), 343-351. [6] [artist’s materials, attribution, paintings, previous interventions, provenance]
Swerda, Katie, In their own words: painting conservation and restoration in 19th-century America according to the artists and restorers who recorded their practices and beliefs, ICOM-CC 13th Triennial Meeting Rio de Janeiro, 22-27 September 2002, London (2002), 198-202. [4] [adhesive, lining, paintings, tensile strength]
Young, Christina, Hibberd, Roger & Paul Ackroyd, An investigation into the adhesive bond and transfer of tension in lined canvas paintings, ICOM-CC 13th Triennial Meeting Rio de Janeiro, 22-27 September 2002, London (2002), 370-378. [5] [adhesive, lining, paintings, tensile strength]
Young, Christina & Paul Ackroyd, The mechanical behaviour and environmental response of paintings to three types of lining treatment, National Gallery technical bulletin 22 (2001), 85-104. [11,5] [canvas, lining, mechanical properties, paintings, relative humidity]
Berger, Gustav A, The use of water in the conservation of canvas paintings, Conservation of paintings, London (2000), 63-79. [11,5]
Wadum, J?rgen & Nicola Costaras, Johannes Vermeer’s Girl with a pearl earring de- & re-restored, Restauration, dé restauration: colloque sur la conservation, restauration des biens culturels, Paris 5-7 Octobre 1995, (1995), 163-172. [??] [paintings, previous interventions]
Doyal, Sherry & Mark Sandiford, Architectural linings and backings, Lining and backing: the support of paintings, paper and textiles: papers delivered at the UKIC Conference 7-8 November 1995, Hampshire (1995), 60-66. [5] [adhesive, backing, lining, wall hangings]
Hackney, Stephen & Torben Ernst, The applicability of alkaline reserves to painting canvases, Preventive conservation: practice, theory and research, IIC Congress Ottawa, 12-16 September 1994, London (1994), 223-237. [4] [canvas, deacidification, paintings, preventive conservation]
Heydenreich, Gunnar, Removal of a wax-resin lining and colour changes: a case study, The Conservator no. 18 (1994), 23-27. [3] [canvas, impregnation, lining, paintings, solvents, wax-resin]
Keith, Larry, Giovanno Battista Tiepolo’s Saints Maximus and Oswald: conservation and examination, National Gallery technical bulletin 15 (1994), 36-41. [2] [canvas, lining, paint]
Keith, Larry, Carel Fabritius’ A view in Delft: some observations on its treatment and display, National Gallery technical bulletin 15 (1994), 54-63. [4,5] [linen, lining, painting technique]
Panelmaleri:
Managing restrains in panels, papers of a one-day conference held at the School of Pharmacy, London 9th September 1996, Oxford (1996), 3-26. [15]
Veggfast maleri:
Hauglid, Lars & Terje Norsted, Om Melbo handelssted og restaureringen av et veggfast maleri, Vern og virke 1979, Riksantikvaren (1980), 11-18. [5]
Forelesning 17.02.09: alternatives to lining [95 sider]
Hackney, Stephen, Relining, lining, de-lining, Alternatives to lining, BAPCR & UCIK Conference, 19 September 2003, London (2003), 5-8. [3,5]
Ackroyd, Paul & Caroline Villers, The problem with minimalism, Alternatives to lining, BAPCR & UCIK Conference, 19 September 2003, London (2003), 9-14. [4,5]
Bobak, Simon, The limitations and possibilities of strip-lining, Alternatives to lining, BAPCR & UCIK Conference, 19 September 2003, London (2003), 15-20. [4]
Bracht, Elisabeth, Glanzer, Irene & Louise Wijnberg, Barnett Newman’s Cathedra (1951): the restoration of slash damages in a colourfield painting, Alternatives to lining, BAPCR & UCIK Conference, 19 September 2003, London (2003), 21-28. [5,5]
Dimond, Jim & Christina Young, Reducing cupping without lining?, Alternatives to lining, BAPCR & UCIK Conference, 19 September 2003, London (2003), 29-34. [4,5]
Heiber, Winfried, The thread-by-thread tear mending method, Alternatives to lining, BAPCR & UCIK Conference, 19 September 2003, London (2003), 35-47. [10]
Rizzo, Adriana & Aviva Burnstock, A review of the effectiveness and effects of de-acidification of linen, cotton and flax canvas after 17 years of natural ageing, Alternatives to lining, BAPCR & UCIK Conference, 19 September 2003, London (2003), 49-54. [4]
Young, Christina, The mechanical requirements of tear mends, Alternatives to lining, BAPCR & UCIK Conference, 19 September 2003, London (2003), 55-58. [3]
Ackroyd, Paul, Phenix, Alan & Caroline Villers, Not lining in the twenty-first century: attitudes to the structural conservation of canvas paintings, The Conservator no. 26 (2002), 14-23. [7] [canvas, conservator, history of conservation, lining, paintings, questionnaires]
Berger, Gustav A, Tears in canvas paintings and their proper closing, Conservation of paintings, London (2000), 45-61. [10,5]
Nicolaus, Knut, Removing fabric patches and stickers, The restoration of paintings, Cologne (1999), 97-104. [2,5]
Nicolaus, Knut, Alternatives to lining, The restoration of paintings, Cologne (1999), 105-116. [4,5]
Nicolaus, Knut, Layer separation, binding agent failure, The restoration of paintings, Cologne (1999), 189-198. [4,5]
Nicolaus, Knut, Reattaching and securing separated layers, The restoration of paintings, Cologne (1999), 207-225. [8,5]
Hough, Mary Piper & Stefan Michalski, Preliminary results of a research project exploring local treatments of cupped cracks in contemporary paintings, ICOM-CC 12th Triennial Meeting Lyon, 29 August – 3 September 1999, London (1999), 304-311. [6] [cracks, cupping, repairing]
Ackroyd Paul, Past and present methods for the removal of severe distortions in canvas paintings, The picture restorer no. 14 (1998 Fall), 13-19. [5] [canvas, deformation, lining, moisture, paintings]
Berger, Gustav A & William H Russell, Tears in canvas paintings: resulting stress changes and treatment, ICOM-CC 10th Triennial Meeting, Washington, DC, 22-27 August 1993, Paris (1993), 113-117. [4] [adhesives, canvas, epoxy resin, lining, paintings, stress, tearing]
Berger, Gustav A & William H Russell, Changes in resistance of canvas to deformation and cracking (Modulus of Elasticity “E”) as caused by sizing and lining, ICOM-CC 9th Triennial Meeting Dresden, 26-31 August 1990, Los Angeles (1990), 107-112. [3,5] [canvas, cracking, deformation, lining, modulus of elasticity, relative humidity, sizing, substrate, temperature]
Nazarova, I.V., Malachecskaya, E.L. & L.I. Yashkina, Technique of restoring paintings on canvas without lining, ICOM-CC 9th Triennial Meeting Dresden, 26-31 August 1990, Los Angeles (1990), 130-132. [2] [adhesives, canvas, exhibitions, hygroscopicity, lining, storage]
Boissonas, Pierre B. & Westby Percival-Prescott, Some alternatives to lining, ICOM-CC 7th Triennial Meeting Copenhagen, 10-14 September 1984, Paris (1984), 84.2.35-84.2.37. [2]
Tilleggslitteratur:
Fyrand, Kristin, Different aspects concerning the mechanical behaviour of strip lined canvas paintings, G?teborgs Universitet, Institutionen f?r milj?vetenskap och kulturv?rd, G?teborg (1999). BSc-thesis.
Forelesning 26.02.09: modern lining [97,5 sider]
Ackroyd, Paul, Phenix, Alan, Villers, Caroline & Nancy Wade, Structural treatments for canvas paintings in 2002: summary of questions replies, ICOM-CC 13th Triennial Meeting Rio de Janeiro, 22-27 September 2002, London (2002), 321-327. [7] [canvas, conservation materials, lining, paintings questionnaires]
Berger, Gustav A, Consolidation of flaking paint films, Conservation of paintings, London (2000), 23-44. [12]
Berger, Gustav A, Lining and mounting with BEVA, Conservation of paintings, London (2000), 85-108. [14]
Nicolaus, Knut, Lining, The restoration of paintings, Cologne (1999), 117-139. [13,5]
Young, Christina, Towards a better understanding of the physical properties of lining materials for paintings: interim results, The Conservator no. 23 (1999), 83-91. [canvas, lining, moisture, paintings, structural analysis, warping] [4,5]
Berger, Gustav A, Transparent lining of paintings, ICOM-CC 11th Triennial Meeting Edinburgh, Scotland, 1-6 September 1996, London (1996), 239-244. [4,5] [lining, paintings, transparency]
Bilson, Thomas, Canvas shrinkage: a preliminary investigation into the response of a woven structure, ICOM-CC 11th Triennial Meeting Edinburgh, Scotland, 1-6 September 1996, London (1996), 245-252. [6]
McMillan, Gillian, The discovery of oil sketches on the reverse of “Le Bassin de Jas de Bouffan”, ICOM-CC 11th Triennial Meeting Edinburgh, Scotland, 1-6 September 1996, London (1996), 282-287. [5] [attribution, oil sketches, radiography, stretchers, framing and mounting equipment]
Michalski, Stefan & Debra Daly Hartin, CCI Lining project: preliminary testing of lined model paintings, ICOM-CC 11th Triennial Meeting Edinburgh, Scotland, 1-6 September 1996, London (1996), 288-296. [4,5] [lining, paintings, relative humidity, stress]
Roche, Alain, Pressure-sensitive adhesives for the attachment of reinforcing canvases to the back of paintings, Studies in Conservation 41, no. 1 (1996), 45-54. [4,5] [adhesive, aging, chemical properties, paintings, reinforcement]
Berger, Gustav A, Letter to the editor (on the reversibility of BEVA bonds), The picture restorer no. 7 (1995), 26-28. [1,5] [adhesive, Beva, bonding (joining), lining, reversibility]
Roberts, Mark, Lining torn paintings with an interleaf, The picture restorer no. 5 (1994), 5-8. [2] [interlining, lining, paintings, vacuum tables]
Bernsted, S?ren, transparent cold-lining of a transparent painting, ICOM-CC 10th Triennial Meeting Washington DC, 22-27 August 1993, Paris (1993), 118-121. [2,5] [acrylic, cold lining, paintings, Plextol B 500]
Daly Hartin, Debra, Michalski, Stefan & Christie Pacquet, Ongoing research in the CCI lining project: peel testing of BEVA 371 and wax-resin adhesives with different lining supports, ICOM-CC 10th Triennial Meeting Washington DC, 22-27 August 1993, Paris (1993), 128-134. [5] [adhesive, BEVA 371, lining, peel testing]
Sander, Ingo, The treatment of cracks in canvas paintings with synthetic adhesives: procedures and possible combinations with the lining process, ICOM-CC 9th Triennial Meeting Dresden, 26-31 August 1990, Los Angeles (1990), 133-138. [3,5] [canvas, consolidation, cracks, lining, synthetic adhesives]
Mehra, Vishwa Raj, Cold lining and its scope: some case histories, ICOM-CC 7th Triennial Meeting Copenhagen, 10-14 September 1984, Paris (1984), 84.2.31-84.2.34. [3,5] [dispersions, lining]
Phenix, Alan & Gerry Hedley, Lining without heat nor moisture, ICOM-CC 7th Triennial Meeting Copenhagen, 10-14 September 1984, Paris (1984), 84.2.38-84.2.44. [4]
Ekstra om dublering:
Ackroyd, Paul, Glue-paste lining of paintings: an evaluation of stone additive materials, ICOM-CC 11th Triennial Meeting Edinburgh, Scotland, 1-6 September 1996, London (1996), 231-238. [additive, glue, lining, oxgall, paste, adhesive]
Ekroth-Edebo, Margareta & Thomas Petéus, The study and conservation of glue paintings on textile: 18th and 19th century painted wall hangings from southern Sweden, ICOM-CC 10th Triennial Meeting Washington DC, 22-27 August 1993, Paris (1993), 135-140. [flaking, glue, lining, paintings, softening, wall hangings]
Kaniewska-Wójcik, Blandyna, Eine methode des Laminierens von Leinwandgem?lden, Restauro: Zeitschrift für Kunsttechniken, Restaurierung und Museumsfragen 97, no. 3 (1991), 183-184. [acrylic, canvas, Hostaphan foil, Japanese paper, laminating, lining, polyvinyl acetate, silicon]
Donnithorne, Alan & Catherine Hicks, Problems of works of art on paper with textile support, Paper and textiles, the common ground, Glasgow (1991), 95-100.
Yashkina, L., Adhesive method of consolidating oil paintings with cuppings and hard craquelure, Conference on comparative lining techniques, National Maritime Museum, Greenwich, London 23-25 April 1974, ny utgave: London (2003).
Forelesning 10.03.09: frames
Eipper, Paul-Bernhard, Wollfilzbeschichtungen an Innenfalzen von Gem?ldezierrahmen, Museum aktuell 97, (2003 Nov), 4786-4788. [2]
Kanter, Laurence B., Issues in presentation: frames, fragments and context, Early Italian paintings: approaches to conservation: proceedings of a symposium at the Yale University Art Gallery, April 2002, Yale University Press (2003), 264-274. [6,5]
Ablett, Annie, The frame: its purpose to enhance, The picture restorer 21 (2002 Spring), 9-12. [4]
Schmuecker, Emma, The use and identification of traditional techniques and materials for the conservation and restoration of picture frames, The picture restorer 21 (2002 Spring), 13-17. [3]
Padfield, Tim, Berg, Henrietta, Dalstrom, Nina & Anna-Grethe Rischel, How to protect glazed pictures from climatic insult, ICOM-CC 13th Triennial Meeting Rio de Janeiro, 22-27 September 2002, London (2002), 80-85. [4]
Lahoda, Tomas, Lehmann Banke, Pauline & Karen-Marie Henriksen, An alternative adjustable aluminium spring stretcher for a large painting, ICOM-CC 13th Triennial Meeting Rio de Janeiro, 22-27 September 2002, London (2002), 360-362. [3]
Nicolaus, Knut, Frames and working frames, The restoration of paintings, Cologne (1999), 145-153. [2]
MacClure, Ian, The framing of wooden panels, The structural conservation of panel paintings: proceedings of a symposium at the J. Paul Getty Museum, 24-28 April 1995, Los Angeles (1998), 433-447. [8]
Ravenel, Nancie C., Painted Italian picture frames in the Samuel H. Kress Foundation Collection at the National Gallery of Art, Painted wood: history and conservation, Los Angeles (1998), 100-109. [6]
Verougstraete, Hélène & Roger Van Schoute, The origin and significance of marbling and monochrome paint layers on frames and supports in Netherlandish painting of the fifteenth and sixteenth centuries, IIC Dublin Conference 1998, London (1998), 98-100. [2,5]
Sozzani, Laurent S.G., An economical design for a microclimate vitrine for paintings using the picture frame as the primary housing, Journal of the American Institute for Conservation 36, no.2 (1997), 95-107. [6,5]
Marsland-Boyer, Victoria & Adriano Lorenzelli, The picture frame in context and the art of gilding, The Victoria memorial Hall, Calcutta: conception, collections, conservation, Marg Publications (1997), 81-90. [??]
Nikolaievna Trifona, Anna, The silver-framed icons in old Russian art, ICOM-CC 11th Triennial Meeting Edinburgh, Scotland, 1-6 September, 1996, London (1996), 316-321. [5]
Booth, Peter, The Tate’s approach to conservation framing, The picture restorer no. 10 (1996), 18-19. [2]
Simon, Jacob, The art of the picture frame: artists, patrons, and the framing of portraits in Britain, National Portrait Gallery (1996), 31-47. [11,5]
Sawicki, Malgorzata, Picture frame conservation or … repairing?, AICCM bulletin 20 no. 2 (1995), 17-25. [8]
Christensen, Carol, The painting materials and technique of Paul Gauguin, Conservation research, studies in the history of art 41, National gallery of Art (1993), 62-103. [2]
Zorpette, Glenn, Frames and fortunes, ARTnews 91 no. 4 (1992 April), 96-99. [2]
Dunkerton, Jill, Giotto to Dürer: early Renaissance painting in the National gallery, Yale University press (1991). [4,5]
Cassar, May, A microclimate within a frame for a portrait hung in a public place, Conservation today: papers presented at the UKIC 30th Anniversary Conference 1988, (1988), 46-49. [3]
Cornu, Elisabeth, Should conservators regild the lily? Or on ethics of gilding conservation, papers presented at the wooden artefacts group specialty session, AIC Annual Meeting 1986, Chicago, Illinois, American Institute for Conservation (1986), 5 sider. [??]
Sandwith, Hermione, National Trust picture frame survey, The international journal of museum management and curatorship 4 no. 2 (1985Jun), 173-178. [??] [frames, data collection, GIS, GPS, remote sensing]
Hagmann, N.A., On the old Russian icon’s setting frames, in the connection with their restoration, ICOM-CC 7th Triennial Meeting, Copenhagen, 10-14 September 1984, Paris (1984), 84.23.5. [1]
Perry, Roy & Peter Booth, Some notes on the framing of paintings, The conservator no. 2 (1978), 41.44. [2]
Blythe, A.R., Anti-static treatment of “Perspex” for use in picture frames, Studies in conservation 19 no. 2 (1974), 102-104. [2]
Tilleggslitteratur:
? Wilner, Eli (red), The gilded frame: the art of the frame, (2002). 203 sider.
? Goist, David, Treatment of Virginian Luxuries/Portrait of a man, Postprints AIC, Paintings specialty group (1996), 28-34.
? Newbery, Timothy J, Bisacca, George & Laurence B. Kanter, The Italian Renaissance frames, Metropolitan Museum of Art (1990).
? North, S. Kennedy, The framing of valuable large paintings, The Burlington magazine 61, (1932), 12-13.
? Veliz, Zahira, The restoration of paintings in the Spanish Royal Collection, Studies in the history of painting restoration, Archetype Publications Ltd. (1998), 43-62.