Removal of adherent surface deposits by physicalchemical means (by cotton swab). Church of SuceviţaMonastery, burial chamber. Romania, Suceava.

From Wikipedia, the free encyclopedia

Conservation-restoration, also referred to as conservation, is a professiondevoted to the preservation of cultural heritage for the future. Conservationactivities include examination, documentation, treatment, and preventive care. Allof this work is supported by research and education.

Contents

1 Definition2 History

2.1 Key dates2.2 Brief history

3 Ethics4 Specialization within the profession5 Caring for cultural heritage

5.1 Preventive conservation5.2 Interventive conservation

6 The conservation laboratory7 Country by country look

7.1 United States7.2 United Kingdom

8 Training9 Associations and professional organizations10 International cultural heritage documents

10.1 External lists

11 Further reading12 References13 External links

13.1 General resources13.2 Scholarly journals13.3 Relation to the public13.4 Conservators in private practice that provide resources

Definition

The traditional definition of the role of the conservator involves the examination, conservation, and preservation of cultural heritageusing "any methods that prove effective in keeping that property in as close to its original condition as possible for as long aspossible."[1]

However, today the definition of the role of conservation has widened and would more accurately be described as that of ethicalstewardship.

The conservator applies some simple ethical guidelines, such as:

Minimal intervention.Appropriate materials and methods that aim to be reversible to reduce possible problems with future treatment, investigation, anduse.Full documentation of all work undertaken.

In order for the conservator to apply their professional expertise accordingly, they must take into account the views of the stakeholder,the meaning of the object, and the physical needs of the material, in order to decide upon an appropriate conservation strategy.

History

Key dates

Main article: List of dates in the history of art conservation

The tradition of conservation in Europe some consider to have begun in 1565 with the restoration of the Sistine Chapel frescoes.

1

Since 1998, Harvard University wrapssome of the valuable statues on itscampus, such as this tortoise-borne"Chinese stele", with waterproofcovers every winter, in order to protectthem from erosion caused by acidrain.[4]

Brief history

The care for cultural patrimony has a long history within traditions of fixing and mending objects,[2] and in individual restorations ofartworks. During the 19th century, the fields of science and art became increasingly intertwined as scientists such as Michael Faradaybegan to study the damaging effects of the environment to works of art. Louis Pasteur carried out scientific analysis on paint during thistime period as well.[3] However, perhaps the first organised attempt to conserve cultural patrimony was the Society for the Protection ofAncient Buildings in the UK, influenced by the writings of John Ruskin the society was founded by William Morris and Philip Webb in1877. During the same period a movement with similar aims had also developed in France under the direction of Eugène Viollet-le-Duca French architect and theorist, famous for his "restorations" of medieval buildings.

Conservation, as a distinct field of study, initially developed in Germany, when in 1888 FriedrichRathgen became the first chemist to be employed by a Museum, the Koniglichen Museen, Berlin(Royal Museums of Berlin). He not only developed a scientific approach to the care of objects inthe collections, but disseminated this approach publishing a "Handbook of Conservation" in1898.[5] The early development of conservation in any area of the world is usually linked to thecreation of positions for chemists within museums. However in the United Kingdom, pioneeringresearch into painting materials and conservation, ceramics, and stone conservation wasconducted by Arthur Pillans Laurie, academic chemist and Principal of Heriot Watt Universityfrom 1900. Laurie's interests were fostered by William Holman Hunt.[6] In 1924 in the UK thechemist Harold Plenderleith began to work at the British Museum with Dr. Alexander Scott inthe newly created Department of Scientific and Industrial Research, thus giving birth to theconservation profession in the UK.[7] This department had been created by the museum toaddress objects in the collection that had begun to rapidly deteriorate as a result of being storedin the London Underground tunnels during the First World War. The development of thisdepartment at the British Museum moved the focus for the development of conservation fromGermany to Britain, and in 1956 Plenderleith wrote a significant handbook called TheConservation of Antiquities and Works of Art, it was this book rather than Rathgen's that iscommonly seen as the major source for the development of conservation as we know it today.

In the United States, the development of conservation can be traced to the Fogg Art Museum,and Edward Waldo Forbes, the Director of the Fogg from 1909 to 1944. He encouragedtechnical investigation, and was Chairman of the Advisory Committee for the first technicaljournal, Technical Studies, in the Field of the Fine Arts, published by the Fogg from 1932 to1942. Importantly he also brought onto the museum staff chemists. Rutherford John Gettens wasthe first chemist in the U. S. to be permanently employed by an art museum. He worked withGeorge L. Stout, the founder and first editor of Technical Studies. Gettens and Stout co-authored Painting Materials: A ShortEncyclopaedia, first published in 1942 and reprinted in 1966. This compendium is still cited regularly. Only a few dates and descriptionsin Gettens' and Stout's book are now outdated.[8]

George T. Oliver, of Oliver Brothers (Est. 1850 in New York City) invented the vacuum hot table for relining paintings in 1920’s, hefiled a patent for the table in 1937.[9] Taylor's prototype table, which he designed and constructed, is still in operation.

The focus of conservation development then accelerated in Britain and America, and it was in Britain that the first InternationalConservation Organisations developed. The International Institute for Conservation of Historic and Artistic Works (IIC) wasincorporated under British law in 1950 as "a permanent organization to co-ordinate and improve the knowledge, methods, and workingstandards needed to protect and preserve precious materials of all kinds."[8] The rapid growth of conservation professionalorganizations, publications, journals, newsletters, both internationally and in localities, has spearheaded the development of theconservation profession, both practically and theoretically. Art historians and theorists such as Cesare Brandi have also played asignificant role in developing conservation-restoration theory. In recent years ethical concerns have been at the forefront ofdevelopments in conservation. Most significantly has been the idea of Preventive conservation. This concept is based in part on thepioneering work by Garry Thomson CBE, and his book the Museum Environment, first published in 1978.[10] Thomson was associatedwith the National Gallery (London), it was here that he established a set of guidelines or environmental controls for the best conditionsin which objects could be stored and displayed within the Museum Environment. Although his exact guidelines are no longer rigidlyfollowed they did inspire this field of conservation.

Ethics

The conservator's work is guided by ethical standards. These take the form of applied ethics. Ethical standards have been establishedacross the world, and national and international ethical guidelines have been written. One such example is:

American Institute for Conservation Code of Ethics and Guidelines for Practice [1] (http://www.conservation-us.org/index.cfm?fuseaction=page.viewpage&pageid=858)

Conservation OnLine's Ethical issues in conservation (http://cool.conservation-us.org/bytopic/ethics/) provides a number of articles onethical issues in conservation; example of codes of ethics and guidelines for professional conduct in conservation and allied fields; and

2

Castle gate of Krnov beforerestoration (2001)

Castle gate of Krnov after restoration(2009)

Work of preventive conservation in a rock wall withprehistoric paintings at the Serra da CapivaraNational Park. The work consists of filling the cracksto prevent the fragmentation of the wall.

charters and treaties pertaining to ethical issues involving the preservation of cultural property.

Specialization within the profession

The profession of art conservation is broad and encompasses many areas of speciality. Somespecialities within art conservation would include:

Book and paper conservationConservation scienceElectronic media conservation

Digital preservationFilm preservationMedia preservationPhonograph record preservation

Historic preservationArchitectural conservation

Historic paint analysis

Object conservation (archaeological, ethnographic, and sculptural)Furniture conservationFrame conservationNatural science conservationPaintings conservationMetals conservationPhotograph conservationStained glass conservationTextile conservationVariable art conservation

Caring for cultural heritage

Preventive conservation

Many cultural works are sensitive to environmental conditions such as temperature, humidity and exposure to light and ultraviolet light.They must be protected in a controlled environment where such variables are maintained within a range of damage-limiting levels.Shielding from sunlight of artifacts such as watercolour paintings for example is usually necessary to prevent fading of pigments.

Preventive conservation is an important element of museum policy and collections care. It is an essential responsibility of members ofthe museum profession to create and maintain a protective environment for the collections in their care, whether in store, on display, orin transit. A museum should carefully monitor the condition of collections to determine when an artifact requires conservation work andthe services of a qualified conservator.

Interventive conservation

Interventive Conservation refers to any act by a conservator that involves a directinteraction between the conservator and the cultural material. These interventivetreatments could involve cleaning, stabilizing, repair, or even replacement of partsof the original object. It is essential that the conservator should fully justify any suchwork. Complete documentation of the work; carried out before, during, and afterthe treatment rules out chances of later doubts.

The principal goal of a conservator is to nullify or at least reduce the rate ofdeterioration of an object, this can be achieved through either non-interventive orinterventive methodologies. Interventive methodologies include all those actionstaken by the conservator to directly intervene with the material fabric of the object.Such actions include surface cleaning such as varnish removal, or consolidationsuch as securing flaking paint. Such interventive actions are carried out for a varietyof reasons including; aesthetic choices, Stabilization needs for structural integrity, orfor cultural requirements for intangible continuity.

One of the guiding principles of conservation has traditionally been the idea of reversibility, that is that all interventions with the objectshould be fully reversible, and the object should be able to be returned to the state in which it was prior to the conservators intervention.Although this concept remains a guiding principle of the profession, it is a concept that has been widely critiqued within theconservation profession [11] and is now considered by many to be "a fuzzy concept".[12] Another important principle of conservation isthat all alterations should be well documented and should be clearly distinguishable from the original object.[13]

3

The Lunder Conservation Center. Conservation stafffor both the Smithsonian American Art Museum andthe National Portrait Gallery are visible to the publicthrough floor-to-ceiling glass walls that allowvisitors to see firsthand all the techniques thatConservators use to examine, treat and preserveartworks within a functioning conservationLaboratory.

An example of a highly publicized interventive conservation effort would be the conservation work conducted on the Sistine Chapel.

The conservation laboratory

Conservators routinely use chemical and scientific analysis for the examination andtreatment of cultural works. The modern conservation lab uses equipment such asmicroscopes, spectrometers, and x-ray machines to better understand objects andtheir components. The data thus collected helps in deciding the conservationtreatments to be provided to the object.

Country by country look

United States

Heritage Preservation, in partnership with the Institute of Museum and LibraryServices, a U.S. federal agency, produced The Heritage Health Index. The results ofthis work was the report A Public Trust at Risk: The Heritage Health Index Reporton the State of America's Collections (http://www.heritagepreservation.org/HHI/summary.html) , which was published in December 2005 and concluded thatimmediate action is needed to prevent the loss of 190 million artifacts that are inneed of conservation treatment. The report made four recommendations:

Institutions must give priority to providing safe conditions for the collectionsthey hold in trust.Every collecting institution must develop an emergency plan to protect itscollections and train staff to carry it out.Every institution must assign responsibility for caring for collections to members of its staff.Individuals at all levels of government and in the private sector must assume responsibility for providing the support that willallow these collections to survive[14]

United Kingdom

In October 2006, the Department for Culture, Media and Sport, a governmental department, authored a document: "Understanding theFuture: Priorities for England's Museums".[15] This document was based on several years of consultation aimed to lay out thegovernment's priorities for museums in the 21st century.

The document listed the following as priorities for the next decade:

Museums will fulfil their potential as learning resources (pp 7–10).Museums will be embedded into the delivery of education in every school in the country.Understanding of the effectiveness of museum education will be improved further and best practice built into educationprogrammes.The value of museums' collections as a research resource will be well understood and better links built between theacademic community and museums.

1.

Museums will embrace their role in fostering, exploring, celebrating and questioning the identities of diverse communities (pp11–14).

The sector needs to work with partners in academia and beyond to create an intellectual framework supporting museums'capacity to tackle issues of identity.The museum sector must continue to develop improved practical techniques for engaging communities of all sorts.

2.

Museums' collections will be more dynamic and better used (pp 15–18).Government and the sector will find new ways to encourage museums to collect actively and strategically, especially therecord of contemporary society.The sector will develop new collaborative approaches to sharing and developing collections and related expertise.

3.

Museums' workforces will be dynamic, highly skilled and representative (pp 17–22).Museums' governing bodies and workforces will be representative of the communities they serve.Find more varied ways for a broader range of skills to come into museums.Improve continuing professional development.

4.

Museums will work more closely with each other and partners outside the sector (pp 23–26).A consistent evidence base of the contribution of all kinds of museums to the full range of public service agendas will bedeveloped.There will be deeper and longer lasting partnerships between the national museums and a broader range of regionalpartners.Museums' international roles will be strengthened to improve museum programmes in this country and Britain's image,reputation and relationships abroad.

5.

4

The conservation profession response to this report was on the whole less than favourable, the Institute of Conservation (ICON)published their response under the title "A Failure of Vision".[16] It had the following to say:

"No sector can look with confidence to the future if its key asset is worked harder and harder across an ever broadeningrange of objectives while the inputs required to sustain it are neglected."

"It is of major concern to us that the only part of this section which makes any acknowledgement of the need for greaterresourcing is the part which refers to acquisitions. The original consultation paper made quite extensive reference to theimportance of collections, the role of new technologies, and cultural property issues, but this appears to have been whittledaway in the present document."

Concluding:

"When asked by the Commons Culture Media and Sport elect Committee CMS committee what he would like to see as apriority in the DCMS document arising from the 'Understanding the Future' consultation, Mr MacGregor responded 'I wouldlike to see added there the need to conserve and research the collections, so that the collections can really play the roleacross the whole of the United Kingdom that they should.'

So would we."

Further to this the ICON website summary report[17] lists the following specific recommendations:

A national survey to find out what the public want from museums, what motivates them to visit them and what makes for arewarding visit.A review of survey results and prioritisation of the various intrinsic, instrumental and institutional values to provide a clear basisfor a 10-year strategyHR consultants to be brought in from the commercial sector to review recruitment, career development and working practices inthe national and regional museums.A commitment to examine the potential for using Museum Accreditation as a more effective driver for improving recruitment,diversity, and career development across the sector.DCMS to take full account of the eventual findings of the current Commons Select Committee enquiry into Care of Collections inthe final version of this documentThe adoption of those recommendations of the recent House of Lords enquiry into Science and Heritage which have a potentialimpact on the future of museums.

In November 2008, the UK based think tank Demos published an influential pamphlet entitled 'It's a material world: caring for thepublic realm',[18] in which they argue for integrating the public directly into efforts to conserve material culture, particularly that whichis in the public, their argument, as stated on page 16, demonstrates their belief that society can benefit from conservation as a paradigmas well as a profession:

"conservators provide a paradigm not just for fixing things when they are broken, but for a wider social ethos of care,where we individually and collectively take responsibility and action"

Training

Main article: Art conservation training

Training in conservation for many years took the form of an apprenticeship, whereby an apprentice slowly developed the necessaryskills to undertake their job. For some specializations within conservation this is still the case. However, it is more common in the fieldof conservation today that the training required to become a practicing conservator comes from a recognized university course inconservation.[19]

The University can rarely provide all the necessary training in first hand experience that an apprenticeship can, and therefore in additionto graduate level training the profession also tends towards encouraging conservation students to spend time as an intern.

Conservation is an Interdisciplinary field as conservators have backgrounds in the fine arts, sciences (including chemistry, biology, andmaterials science), and closely related disciplines, such as art history, archaeology, studio art, and anthropology. They also have design,fabrication, artistic, and other special skills necessary for the practical application of that knowledge.

Within the various schools that teach conservation, the approach differs according to the educational and vocational system within thecountry, and the focus of the school itself. This is acknowledged by the American Institute for Conservation who advise "Specificadmission requirements differ and potential candidates are encouraged to contact the programs directly for details on prerequisites,application procedures, and program curriculum".[20]

Associations and professional organizations

Main article: Conservation associations and professional organizations

5

Societies devoted to the care of cultural heritage have been in existence around the world for many years. One early example is thefounding in 1877 of the Society for the Protection of Ancient Buildings in Britain to protect the built heritage, this society continues tobe active today.[21]

The built heritage was also at the forefront of the growth of member based organizations in the United States for example, founded in1889, the Richmond, Virginia-based Association for the Preservation of Virginia Antiquities was the United States' first statewidehistoric preservation group. In 2003, it changed its name to reflect its wider focus in statewide preservation issues.[22]

Today, professional conservators join and take part in the activities of numerous conservation associations and professionalorganizations with the wider conservation field, and within their area of specialization.

These organizations exist to "support the conservation professionals who preserve our cultural heritage".[23]

This involves upholding professional standards, promoting research and publications, providing educational opportunities, and fosteringthe exchange of knowledge among conservators, allied professionals, and the public.

International cultural heritage documents

Year Document Sponsor Text (English where available)

1931 Athens Charter

InternationalCongress ofArchitects andTechnicians ofHistoric Monuments

text (http://www.icomos.org/docs/athens_charter.html)

1931 Carta Di AteneConferenzaInternazionale diAtene

text (http://www.tine.it/NormativaBBCC/Carte.htm#atene) (Italian)

1932 Carta Italiana delrestauro

Consiglio SuperiorePer Le Antichità eBelle Arti

text (http://www.tine.it/NormativaBBCC/Carte.htm#consiglio) (Italian)

1933 Charter of Athens IV CIAM text (http://www.getty.edu/conservation/research_resources/charters/charter04.html)

1956 New DelhiRecommendation IX UNESCO text (http://www.icomos.org/unesco/delhi56.html) , text (http://www.icomos.org

/unesco/planning56.html)

1962 ParisRecommendation XII UNESCO text (http://www.icomos.org/unesco/landscapes62.html)

1964 Venice Charter

II InternationalCongress ofArchitects andTechnicians ofHistoric Monuments

text (http://www.international.icomos.org/charters/venice_e.htm) , text(http://www.international.icomos.org/e_venice.htm)

1964 ParisRecommendation XIII UNESCO text (http://www.icomos.org/unesco/illicit64.html)

1967 Norms of Quito OAS text (http://www.international.icomos.org/charters/quito.htm) (Spanish), text(http://www.icomos.org/docs/quito67.html)

1968 ParisRecommendation XV UNESCO text (http://www.icomos.org/unesco/works68.html)

1972 Paris Convention XVII UNESCO text (http://whc.unesco.org/archive/convention-en.pdf)

1972 ParisRecommendation XVII UNESCO text (http://www.icomos.org/unesco/national72.html)

1972 Carta Italiana delRestauro text (http://www.tine.it/NormativaBBCC/Carte.htm#cartaitaliana) (Italian)

1972 StockholmDeclaration UNEP text (http://www.unep.org/Documents.multilingual/Default.asp?DocumentID=97&

ArticleID=1503)

1974

Santo DomingoResolution,DominicanRepublic

InteramericanSeminar on theConservation andRestoration of theArchitectural

text (http://portal.iphan.gov.br/portal/baixaFcdAnexo.do?id=245) (Portuguese),text (http://www.unisc.br/universidade/estrutura_administrativa/nucleos/npu/npu_patrimonio/legislacao/internacional/patr_cultural/resolucoes/sao_domingos_1974.pdf) (Portuguese)

6

Heritage of theColonial andRepublican Periods -OAS

1975 Declaration ofAmsterdam

Congress on theEuropeanArchitecturalHeritage

text (http://www.icomos.org/docs/amsterdam.html)

1975

European Charterof theArchitecturalHeritage

Council of Europe text (http://www.icomos.org/docs/euroch_e.html)

1976 Charter on CulturalTourism, Brussels

InternationalSeminar onContemporaryTourism andHumanism

text (http://www.international.icomos.org/e_touris.htm)

1976 NairobiRecommendation XIX UNESCO text (http://www.icomos.org/unesco/areas76.html)

1977 Machu PicchuCharter

text (http://portal.iphan.gov.br/portal/baixaFcdAnexo.do?id=250) (Portuguese),text (http://www.unisc.br/universidade/estrutura_administrativa/nucleos/npu/npu_patrimonio/legislacao/internacional/patr_cultural/cartas/machu_picchu_1977.pdf) (Portuguese), text (http://www.cubaarqueologica.org/document/carta12.pdf) (Spanish), ref (http://148.201.96.14/dc/ver.aspx?ns=000188854) (Spanish)

1981 Burra Charter ICOMOS text (http://www.icomos.org/australia/burra.html)

1982 Florence Charter ICOMOS: HistoricGardens

text (http://www.international.icomos.org/charters/gardens_e.htm) , text(http://www.international.icomos.org/e_floren.htm)

1982 NairobiDeclaration UNEP text (http://www.unep.org/Law/PDF/NairobiDeclaration1982.pdf)

1982 TlaxcalaDeclaration ICOMOS text (http://www.icomos.org/docs/tlaxcala.html)

1982 MéxicoDeclaration

World Conferenceon Cultural Policies- MONDIACULT

text (http://portal.unesco.org/culture/en/ev.php-URL_ID=12762&URL_DO=DO_PRINTPAGE&URL_SECTION=201.html) , text(http://portal.unesco.org/culture/en/files/12762/11295421661mexico_en.pdf/mexico_en.pdf)

1983 Declaration ofRome ICOMOS text (http://www.icomos.org/docs/rome.html)

1987

Carta dellaconservazione edel restauro deglioggetti d'arte e dicultura

text (http://www.inforestauro.org/carta-del-restauro-1987.html) (Italian)

1987 WashingtonCharter ICOMOS text (http://www.international.icomos.org/charters/towns_e.htm) , text

(http://www.international.icomos.org/e_towns.htm)

1989 ParisRecommendation XXV UNESCO text (http://www.un-documents.net/folklore.htm)

1990 Lausanne Charter ICOMOS / ICAHM text (http://www.international.icomos.org/e_archae.htm) , text(http://www.international.icomos.org/charters/arch_e.pdf)

1994 Nara DocumentUNESCO /ICCROM /ICOMOS

text (http://www.international.icomos.org/charters/nara_e.htm) , text(http://www.international.icomos.org/naradoc_eng.htm)

1995 EuropeanRecommendation

Council of Europe,Committee ofMinisters

text (https://wcd.coe.int/com.instranet.InstraServlet?command=com.instranet.CmdBlobGet&InstranetImage=535441&SecMode=1&DocId=517730&Usage=2) (Rec(95)3E),

text (https://wcd.coe.int/com.instranet.InstraServlet?command=com.instranet.CmdBlobGet&InstranetImage=536539&SecMode=1&DocId=527032&Usage=2) (Rec(95)9E)

7

1996 Declaration of SanAntonio ICOMOS text (http://www.icomos.org/docs/san_antonio.html)

1997 Declaration ofSofia

XI ICOMOS orXXIX UNESCO

text (http://portal.unesco.org/ci/en/ev.php-URL_ID=5352&URL_DO=DO_TOPIC&URL_SECTION=201.html)

1997 Carta de Mar delPlata Mercosul

text (http://portal.iphan.gov.br:8080/vs_portal/baixaFcdAnexo.do?id=269)(Portuguese), text (http://www.unisc.br/universidade/estrutura_administrativa/nucleos/npu/npu_patrimonio/legislacao/internacional/patr_cultural/documentos/mercosul.pdf) (Portuguese), text (http://www.ipatrimonio.com.ar/index.php?option=com_content&task=view&id=34&Itemid=55) (Spanish), text(http://puertoviejoparana.com.ar/blog/carta-de-mar-del-plata/) (Spanish)

2000 Cracow Charter text (http://www.inforestauro.org/carta-di-cracovia-2000.html) (Italian)

2002Declaration ofCartagena deIndias, Colômbia

Conselho Andino,OAS text (http://scm.oas.org/doc_public/ENGLISH/HIST_02/CIDI01002E04.DOC)

2003 ParisRecommendation XXXII UNESCO text (http://www.unesco.org/culture/ich/index.php?pg=00006)

External lists

External lists of international cultural heritage documents:

at ICOMOS - ICOMOS Charters and other Standards (http://www.icomos.org/docs/)at ICOMOS - Charters Adopted by the General Assembly of ICONOS (http://www.international.icomos.org/charters.htm)

at UNESCO - Official documents (http://portal.unesco.org/ci/en/ev.php-URL_ID=1502&URL_DO=DO_TOPIC&URL_SECTION=201.html)at UNESCO - Normative Action (http://portal.unesco.org/culture/en/ev.php-URL_ID=34328&URL_DO=DO_TOPIC&URL_SECTION=201.html)at UNESCO - Legal instruments (http://portal.unesco.org/culture/en/ev.php-URL_ID=35170&URL_DO=DO_TOPIC&URL_SECTION=-471.html)

at UN - UN Documents Cooperation Circles - Gathering a Body of Global Agreements (http://www.un-documents.net/)

at The J. Paul Getty Trust - Conservation Institute - Cultural Heritage Policy Documents (http://www.getty.edu/conservation/research_resources/charters.html)at Fletcher School, Tufts University - Cultural Protection Treaties and Other International Agreements (http://fletcher.tufts.edu/multilaterals/cultural.html)at Robert Gordon University - Documents on cultural heritage protection (http://www2.rgu.ac.uk/schools/mcrg/stdoc.htm)at Cultural Heritage.net - Codes-Charters-Declarations (http://www.culturalheritage.net/cgi-bin/search/hyperseek.cgi?search=CAT&Category=Technical%20Standards%3ACodes%20-%20Charter)by JK Gillon - CULTURAL HERITAGE CHARTERS AND STANDARDS (http://gillonj.tripod.com/culturalheritagechartersandstandards/)

at Cuba Arqueológica - Cartas Internacionales de Protección del Patrimonio (http://www.cubaarqueologica.org/html/patrimo1.htm) (Spanish)at IPHAN - Relação das Cartas Patrimoniais (http://portal.iphan.gov.br/portal/montarPaginaSecao.do?id=12372&sigla=Legislacao&retorno=paginaLegislacao) (Portuguese)

Further reading

Charola, A. Elena, and Robert J. Koestler, eds. Pesticide Mitigation in Museum Collections: Science in Conservation:Proceedings from the MCI Workshop Series (http://www.sil.si.edu/smithsoniancontributions/museumconservation/sc_RecordSingle.cfm?filename=scmc-0001) . Smithsonian Contributions to Museum Conservation, no. 1. Washington, D.C.:Smithsonian Institution Scholarly Press, 2010. Copies of this volume are available for free pdf download from the Smithsonian'sdigital library by clicking on the included link.

References

^ Walston, S. 1978. p.9 The Preservation and Conservation ofAboriginal and Pacific Cultural Material in Australian Museums.ICCM Bulletin Vol 4 no. 1. December 1978. Institute for theConservation of Cultural Materials (Inc).

1.

^ Pye, E, 2001. Caring for the Past: Issues in Conservation forArchaeology and Museums. London: James and James

2.

^ Stoner, Joyce Hill. 2005. p. 41. “Changing Approaches in ArtConservation: 1925 to the present” in (Sackler NAS Colloquium)Scientific Examination of Art: Modern Techniques inConservation and Analysis. Proceedings of the National Academyof Sciences. http://books.nap.edu/openbook.php?record_id=11413&page=41

3.

8

'^ "Art Under Wraps (http://harvardmagazine.com/2000/03/art-under-wraps.html) " , Harvard Magazine, March–April2000

4.

^ Gilberg, Mark. (1987) Friedrich Rathgen: The Father of ModernArchaeological Conservation. Journal of the American Institutefor Conservation, Vol. 26, No. 2 (Autumn, 1987), pp. 105-120http://cool.conservation-us.org/coolaic/jaic/articles/jaic26-02-004_2.html

5.

^ "Brief biography of Professor AP Laurie"(http://www.nahste.ac.uk/isaar/GB_0237_NAHSTE_P1161.html). http://www.nahste.ac.uk/isaar/GB_0237_NAHSTE_P1161.html.

6.

^ http://www.britishmuseum.org/the_museum/departments/conservation_and_science/history.aspx

7.

^ a b Stoner, Joyce Hill. "Changing Approaches in ArtConservation: 1925 to the present". The publication exists in twoeditions. The earlier one is "Scientific Examination of Art:Modern Techniques on Conservation and Analysis" and waspublished by the National Academy of Sciences in 2003. Thelater edition of the publication is "Arthur M. Sackler Colloquia:Scientific Examination of Art: Modern Techniques inConservation and Analysis". It was published by the NationalAcademies Press in 2005.

8.

^ U.S. Patent# 2,073,802 :"Art of Oil Painting Restoration"-March 16, 1937 (http://patft1.uspto.gov/netacgi/nph-Parser?Sect1=PTO2&Sect2=HITOFF&p=1&u=%2Fnetahtml%2FPTO%2Fsearch-bool.html&r=1&f=G&l=50&co1=AND&d=PALL&s1=Oliver-George-T.INNM.&OS=IN/Oliver-George-T&RS=IN/Oliver-George-T)

9.

^ Museum Environment (2nd Edition), 1986, by Garry ThomsonCBE ISBN 978-0-7506-2041-3

10.

^ Andrew Oddy and Sara Carroll (eds). 1999. Reversibility -Does it Exist? British Museum Occasional Paper Number 135.London: British Museum.

11.

^ p. 185. Muñoz-Viñas, Salvador. 2005. Contemporary Theory ofConservation. London: Elsevier/Butterworth Heinemann.

12.

^ ICOM-CC (http://icom-cc.icom.museum/Start/) InternationalCouncil of Museums Committee for Conservation]

13.

^ Heritage Health Index (http://www.heritagepreservation.org/HHI/)

14.

^ http://www.culture.gov.uk/images/consultations/cons_uf_prioritiesforenglandsmuseums.pdf

15.

^ http://www.icon.org.uk/images/stories/icon_understanding_the_future.pdf

16.

^ http://www.icon.org.uk/index.php?option=com_content&task=view&id=400&Itemid=15

17.

^ Holden, John. and Samuel Jones. 2008. It's A Material World:Caring for the public realm. London: Demos. http://demos.co.uk/files/Material%20World%20-%20web.pdf

18.

^ AIC - Becoming a Conservator (http://www.conservation-us.org/training)

19.

^ AIC - Becoming a Conservator (http://www.conservation-us.org/training)

20.

^ SPAB: History of the SPAB (http://www.spab.org.uk/html/what-is-spab/history-of-the-spab/)

21.

^ APVA Preservation Virginia (http://www.apva.org/)22.^ About AIC - Overview (http://www.conservation-us.org/about)23.

External links

General resources

BCIN, the Bibliographic Database of the Conservation Information Network (http://www.bcin.ca/)CAMEO: Conservation and Art Materials Encyclopedia OnLine (http://cameo.mfa.org)Conservation OnLine (CoOL) Resources for Conservation Professionals (http://cool.conservation-us.org) , "CoOL, an onlineresource operated by the Foundation of the American Institute for Conservation (http://www.conservation-us.org/foundation) is afull text library of conservation information, covering a wide spectrum of topics of interest to those involved with theconservation of library, archives and museum materials. It is a growing online resource for conservators, collection carespecialists, and other conservation professionals."Centre for Cultural Materials Conservation (http://www.culturalconservation.unimelb.edu.au/) , a Department of MelbourneUniversity.DOCAM — Documentation and Conservation of the Media Arts Heritage (http://www.docam.ca/) "to address the issues ofpreserving and documenting digital, technological and electronic works of art."Integrated Pest Management Working Group Website (http://www.museumpests.net/)International Council of Museums (ICOM) Code of Ethics for Museums, 2006 (http://icom.museum/ethics.html)museumkids/What is Art Conservation? (http://www.metmuseum.org/explore/publications/pdfs/MusKids_Conservation/Conservation_divided.pdf) - The Metropolitan Museum of Art, 2001.Research Resources (http://www.getty.edu/conservation/research_resources/) at the Getty Conservation Institute, including theAATA (formerly "Art and Archaeology Technical Abstracts") search engine, bibliographies for various topics, cultural heritagepolicy documents, and links to other conservation-related Web sites.Caring for Heritage Collections Online Course. (http://www.culturalconservation.unimelb.edu.au/courses/online.html) An onlinecourse in preventive conservation issues for museum professionals, University of Melbourne, School of Historical Studies: Centrefor Cultural Materials Conservation.Centre de recherche et de restauration des Musées de France, C2RMF on wikipedia (French)Theory and practice of conservation [2] (http://academic.reed.edu/art/faculty/rhyne/pubs.html#theory) .

Scholarly journals

Journal of the American Institute for Conservation (http://www.conservation-us.org/jaic)ICOM-CC Ethnographic Newsletter (http://icom-cc.icom.museum/WG/EthnographicCollections/Newsletters/)Victoria and Albert Museum Conservation Journal (http://www.vam.ac.uk/res_cons/conservation/journal/index.html)Journal of Conservation and Museum Studies (http://www.ucl.ac.uk/archaeology/conservation/jcms/)Tate Papers (http://www.tate.org.uk/research/tateresearch/tatepapers/)Getty Conservation Institute Newsletter (http://www.getty.edu/conservation/publications/newsletters/)The Book and Paper Group - American Institute for Conservation (http://cool.conservation-us.org/coolaic/sg/bpg/annual/)The Abbey Newsletter (http://cool.conservation-us.org/byorg/abbey/an/index.html)e-Preservation Science journal (http://www.e-preservationscience.org/)e-conservation magazine (http://www.e-conservationline.com/)

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CeROArt. on-line magazine devoted to a multidisciplinary approach to questions of Conservation, exposition, Restoration ofObjets d’Art (http://www.ceroart.org/)Studies in Conservation (http://www.iiconservation.org/publications/sic/sic.php)Reviews in Conservation (http://www.iiconservation.org/publications/ric/ric.php)Journal of the Institute of Conservation (http://www.icon.org.uk/index.php?option=com_content&task=view&id=10&Itemid=11#JOURNALS)The Paper Conservator (http://www.icon.org.uk/index.php?option=com_content&task=view&id=10&Itemid=11#JOURNALS)Future Anterior. Journal of Historic Preservation, History, Theory, and Criticism, GSAPP, Columbia University(http://www.upress.umn.edu/journals/futureanterior/futureanterior.html)

Relation to the public

UPenn's Architectural Conservation Lab (http://www.conlab.org)You be the Conservator (http://americanhistory.si.edu/kids/santos/SantosbodySet.htm)Lunder Conservation Center (http://lunderconservation.si.edu/)Conservation Advice Notes - Portable Antiquities Scheme (http://www.finds.org.uk/conservation/)Objects Conservation (http://anthro.amnh.org/anthropology/collections/conservation/conservation_wiki.htm) — Provided by theDivision of Anthropology, American Museum of Natural History.Conservation Report on Mukul Dey Archives by C. B. Gupta (http://www.chitralekha.org/cb-gupta.htm)Public Art Restoration Services (http://www.pickupthepieces.com)Freeview Video 'Science and Fine Art' by David Bomford of the National Gallery. A Royal Institution Lecture showing howscientific techniques aid conservation by the Vega Science Trust. (http://www.vega.org.uk/video/programme/68)New York Academy of Science Podcast about Ad Reinhardt's Black Painting and its restoration (http://www.nyas.org/snc/podcastdetail.asp?id=1850)Preserv'Art - Interactive database of products used in conservation by the CCQ (http://preservart.ccq.mcc.gouv.qc.ca/index.aspx?langue=e)Agents of Deterioration (http://www.liverpoolmuseums.org.uk/nof/agents/access/) - a Game from Liverpool Museum

Conservators in private practice that provide resources

Animation Art Conservation (http://www.animationartconservation.com/index.php?c=con) discusses the preservation ofanimation art and has many interviews with animation artists that detail their original intent and frequently how they made theirart.Conrad Schmitt Studios has been conserving artwork for buildings of architectural, historic, and religious significance since 1889.EverGreene Architectural Arts, Inc. (http://www.evergreene.com) specializes in conservation and restoration practices globally.Oliver Brothers Fine Art Restoration and Conservation, Boston-New York (http://www.oliverbrothersonline.com) has beenrestoring and conserving paintings, works on paper, icons, murals, sculpture, gilded objects, and antique and contemporary pictureframes since 1850.

Retrieved from "http://en.wikipedia.org/wiki/Conservation-restoration"Categories: Art history | Museology | Art conservation | Conservation-restoration

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