A conservação de pinturas de cavalete (e não só)

Outro volume igualmente há muito anunciado também agora foi publicado. É o seguinte:

Joyce Hill Stoner, Rebecca Rushfield (ed.), The Conservation of Easel Paintings, Abingdon, Routledge, 2012.

Este volume certamente que irá passar a ser a obra de referência sobre todo os aspectos materiais relacionados com a pintura de cavalete, desde as fontes documentais relevantes para o conhecimento dos materiais e das técnicas do passado, à história desses mesmos materiais e técnicas, às propriedades dos materiais usados pelos artistas e pelos conservadores, à identificação desses materiais, terminando nos vários problemas relacionados com a conservação.

O livro está disponível em pré-visualização aqui e aqui (um número limitado de páginas em cada um dos endereços).

Índice:

• Jilleen Nadolny, Mark Clarke, Erma Hermens, Ann Massing, Leslie Carlyle, Art technological source research: documentary sources on European painting to the twentieth century, p. 3

• Leslie Carlyle, Exploring the grammar of oil paint through the use of historically accurate reconstructions, p. 33

• Ysbrand Hummelen, Tatja Scholte, Collecting and archiving information from living artists for the conservation of contemporary art, p. 39

• Jørgen Wadum, Noëlle Streeton, History and use of panels or other rigid supports for easel paintings, p. 51

• Christina Young, Alexander W. Katlan, History of fabric supports, p. 116

• Barbara A. Buckley, Stretchers, tensioning, and attachments, p. 148

• Maartje Stols-Witlox, Grounds, 1400-1900, p. 161

• Bronwyn Ormsby, Mark Gottsegen, Grounds in the twentieth century and beyond, p. 185

• Nicholas Eastaugh, Jilleen Nadolny, Sarah Lowengard, Pigments in western easel painting, p. 189

• Erma Hermens, Joyce Townsend, Binding media, p. 207

• Annelies van Loon, Petria Noble, Aviva Burnstock, Ageing and deterioration of traditional oil and tempera paints, p. 214

• Tom Learner, Modern paints, p. 242

• Alan Phenix, Joyce Townsend, A brief survey of historical varnishes, p. 252

• Mark Golden, Varnishing of acrylic paintings by artists, p. 264

• Clare Finn, Written documentation for paintings conservation, p. 271

• David Saunders, Image documentation for paintings conservation, p. 277

• Morwenna Blewett, Notes on the history of conservation documentation: examples from the UK and USA, p. 281

• Spike Bucklow, The classification of craquelure patterns, p. 285

• Rhona MacBeth, The technical examination and documentation of easel paintings, p. 291

• Nicholas Eastaugh, Valentine Walsh, Optical microscopy, p. 306

• Debora D. Mayer, Identification of textile fibres found in common painting supports, p. 318

• Richard C. Wolbers, Susan L. Buck, Peggy Olley, Cross-section microscopy analysis and fluorescent staining, p. 326

• Jilleen Nadolny, A history of early scientific examination and analysis of painting materials ca. 1780 to the mid-twentieth century, p. 336

• Joyce Townsend, Jaap Boon, Research and instrumental analysis in the materials of easel paintings, p. 341

• Michael von der Goltz, Ina Birkenbeul, Isabel Horovitz, Morwenna Blewett, Irina Dolgikh, Consolidation of flaking paint and ground, p. 369

• Carolyn Tomkiewicz, Mikkel Scharff, Rustin Levenson, Tear mending and other structural treatments of canvas paintings, before or instead of lining, p. 384

• Stephen Hackney, Joan Reifsnyder, Mireille te Marvelde, Mikkel Scharff, Lining easel paintings, p. 453

• Paul Ackroyd, The structural conservation of paintings on wooden panel supports, p. 453

• David Bomford, Picture cleaning: positivism and metaphysics, p. 481

• Sibylle Schmitt, Research on the Pettenkofer method and the historical understanding of paint film swelling and interaction, p. 492

• Michael von der Goltz, Joyce Hill Stoner, Considerations on removing or retaining overpainted additions and alterations, p. 497

• Richard Wolbers, Christopher Stavroudis, Aqueous methods for the cleaning of paintings, p. 500

• Alan Phenix, Richard Wolbers, Removal of varnish: organic solvents as cleaning agents, p. 524

• Carol Stringari, Case study in the use of lasers to remove overpaint from AD Reinhardt's black painting, 1960-66, p. 555

• Tom Learner, Bronwyn Ormsby, Cleaning concerns for acrylic emulsion paints, p. 564

• Jilleen Nadolny, History of visual compensation for paintings, p. 573

• Laura Fuster-López, Filling, p. 586

• Shawn Digney-Peer, Karen Thomas, Roy Perry, Joyce Townsend, Stephen Gritt, The imitative retouching of easel paintings, p. 607

• Michael von der Goltz, Jr Proctor, Robert G., Jill Whitten, Lance Mayer, Gay Myers, Ann Hoenigswald, Michael Swicklik, Varnishing as part of the conservation treatment of easel paintings, p. 635

• Joyce Hill Stoner, Preventive conservation, health and safety, outreach, and professional organizations - introduction, p. 659

• Barbara A. Ramsay, Travelling exhibitions and transporting paintings, p. 661

• Tom Dixon, Storage of easel paintings, p. 672

• Jim Druzik, Stefan Michalski, The lighting of easel paintings, p. 678

• Karin Petersen, Jens Klocke, Understanding the deterioration of paintings by microorganisms and insects, p. 693

• Jeremy Hutchings, Sustainable conservation management of exhibitions, p. 710

• Rustin Levenson, Emergency preparedness and recovery, p. 718

• Tom Dixon, Framing, glazing, backing, and hanging of paintings on canvas, p. 727

• Ion McClure, Framing and microclimate enclosures for panel paintings, p. 733

• Monona Rossol, Mary McGinn, Joyce Townsend, Health and safety concerns in the paintings conservation studio, p. 740

• Joyce Hill Stoner, International public outreach projects, p. 750

• Mark Gottsegen, Recommending materials to artists, p. 755

• Rebecca Rushfield, Conservation organizations and professional standards, p. 759

• Rebecca Rushfield, Bibliography, p. 765