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© 2019

Conservation of Modern Oil Paintings

  • Klaas Jan van den Berg
  • Ilaria Bonaduce
  • Aviva Burnstock
  • Bronwyn Ormsby
  • Mikkel Scharff
  • Leslie Carlyle
  • Gunnar Heydenreich
  • Katrien Keune
Book

Table of contents

  1. Front Matter
    Pages i-xxvii
  2. Aviva Burnstock, Klaas Jan van den Berg, Judith Lee, Bronwyn Ormsby
    Pages 1-10
  3. B. Ormsby, J. Lee, I. Bonaduce, A. Lluveras-Tenorio
    Pages 11-35
  4. Paint Technology

    1. Front Matter
      Pages 37-37
    2. Carolina Salis Gomes, Cátia Ferreira, Brenda Rossenaar, Ineke Joosten, Inez van der Werf, Leslie Carlyle et al.
      Pages 39-60
    3. Matthijs de Keijzer
      Pages 61-75
    4. Anne Carter, Gillian Osmond, Paula Dredge, Bruce Leary
      Pages 77-85
    5. Lisanne van den Heuvel, Inez van der Werf, Coos van Waas, Klaas Jan van den Berg
      Pages 97-107
    6. Rika Pause, Johan G. Neevel, Klaas Jan van den Berg
      Pages 109-118
  5. Case Studies: Artists Techniques and Materials; Degradation; Ethical Considerations; Treatment Options

    1. Front Matter
      Pages 119-119
    2. Mary H. Gridley
      Pages 121-137
    3. Corina E. Rogge, Bradford A. Epley
      Pages 139-152
    4. Irina Kadikova, Svetlana Pisareva, Irina Grigorieva, Maria Lukashova
      Pages 165-189
    5. Anastasia V. Yurovetskaya, Maria S. Churakova, Irina Kadikova
      Pages 199-207
    6. Jin Strand Ferrer, Irina Crina Anca Sandu, Terje Syversen, Ana Margarida Cardoso, António Candeias, Camelia N. Borca
      Pages 209-218
    7. Agata Graczyk, Pauline Hélou-de La Grandière, Alan Phenix, Sigrid Mirabaud
      Pages 229-243

About this book

Introduction

Artists’ oil paints have become increasingly complex and diverse in the 20th Century, applied by artists in a variety of ways. This has led to a number of issues that pose increasing difficulties to conservators and collection keepers. A deeper knowledge of the artists’ intent as well as processes associated with material changes in paintings is important to conservation, which is almost always a compromise between material preservation and aesthetics.

This volume represents 46 peer-reviewed papers presented at the Conference of Modern Oil Paints held in Amsterdam in 2018. The book contains a compilation of articles on oil paints and paintings in the 20th Century, partly presenting the outcome of the European JPI project ‘Cleaning of Modern Oil Paints’. It is also a follow-up on ‘Issues in Contemporary Oil Paint’ (Springer, 2014).

The chapters cover a range of themes and topics such as: patents and paint manufacturing in the 20th Century; characterization of modern-contemporary oil paints and paint surfaces; artists’ materials and techniques; the artists’ voice and influence on perception of curators, conservators and scientists; model studies on paint degradation and long term stability; approaches to conservation of oil paintings; practical surface treatment and display.

The book will help conservators and curators recognise problems and interpret visual changes on paintings, which in turn give a more solid basis for decisions on the treatment of these paintings. 


Keywords

Conservation of 20th century paintings Surface cleaning of Unvarnished Paintings Dripping paints Paint Degradation Oxidative Ageing of Modern Oil Paint Stability of Modern Paints Conservation of contemporary oil paint surfaces Characterization of modern-contemporary oil paints CMOP 2015-2018 Preservation of Art Preservation of modern cultural heritage Water sensitivity of modern oil paints films Colour change in easel paintings

Editors and affiliations

  • Klaas Jan van den Berg
    • 1
  • Ilaria Bonaduce
    • 2
  • Aviva Burnstock
    • 3
  • Bronwyn Ormsby
    • 4
  • Mikkel Scharff
    • 5
  • Leslie Carlyle
    • 6
  • Gunnar Heydenreich
    • 7
  • Katrien Keune
    • 8
  1. 1.Cultural Heritage LaboratoryCultural Heritage Agency of the NetherlandsAmsterdamThe Netherlands
  2. 2.Department of Chemistry and Industrial ChemistryUniversity of PisaPisaItaly
  3. 3.Department of Conservation & TechnologyCourtauld Institute of ArtLondonUK
  4. 4.Conservation Science & Preventive ConservationTate BritainLondonUK
  5. 5.School of ConservationKADK School of ConservationCopenhagenDenmark
  6. 6.Faculty of Sciences and TechnologyUniversidade Nova de Lisboa (FCT/UNL)CaparicaPortugal
  7. 7.TH KölnCologne Institute of Conservation SciencesKölnGermany
  8. 8.Conservation & Science Department, RijksmuseumAmsterdamThe Netherlands

About the editors





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