By Joyce Hill Stoner, Rebecca Rushfield
Conservation of Easel Paintings is the 1st accomplished textual content at the historical past, philosophy, and strategies of therapy of easel work that mixes either thought with perform.
With contributions from a global workforce of specialists and interviews with vital artists, this quantity presents an all-encompassing consultant to invaluable historical past wisdom in technical paintings heritage, artists' fabrics, clinical tools of exam and documentation, with sections that current various methods and strategies for remedy, together with consolidation, lining, cleansing, retouching, and varnishing. The publication concludes with a piece that includes problems with preventive conservation, garage, delivery, exhibition, lighting fixtures, issues of safety, and public outreach.
Conservation of Easel Paintings is an important source within the education of conservation scholars and should supply generations of practising work conservators and artwork historians, curators, administrators, creditors, purchasers, artists, and scholars of artwork and paintings historical past with necessary details and guidance.
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Extra info for Conservation of Easel Paintings
1967): the sixteenth century ‘Secreti Diversi’ (the ‘Marciana Manuscript’) (603–40), the late sixteenth- or early seventeenth-century Venetian ‘Paduan Manuscript’ (641–717), and the text by the Venetian painter Giovanni Batista Volpato, 1670–ca. 1706 (721–55). Indeed, versions of some of the Theophilus recipes of the twelfth century may still be found mixed in with newer texts in books produced many centuries later. While many such compendia consisted primarily of recycled material, over time their contents became increasingly representative of contemporary knowledge.
I am thankful especially to Joyce Townsend for her overall advice and guidance, to Richard Wolbers and Tom Learner for their extra-curricular advice and editing, and to my calm and patient co-editor Rebecca Rushfield, most notably for her thoughtful and uncomplaining work with the monumental Bibliography found at the back of the book. Jørgen Wadum and Noëlle Streeton were heroic in their efforts to compile and refine the large rigid supports section. Special thanks are due to Petria Noble and the Mauritshuis for the stunning cover images, and to all of the authors and institutions who helped with the illustrations and are credited in the captions.
The reasons for their compilation are complex and unclear; interest in ancient cultures and in the general preservation of textual sources seems to have been often more important than any intention to actually use the recorded recipes. Indications for painting, mixed together with those for the other craft disciplines, are found incorporated within books of all types: scientific texts, collections of miscellaneous practical information, medicine, and alchemy. The earliest substantial technical information on painting, from the first century ad, is found in Pliny’s Natural History and Vitruvius’s Architecture (Book VII); however, both are principally concerned with murals.
Conservation of Easel Paintings by Joyce Hill Stoner, Rebecca Rushfield