(A) er tilgjengelig p? Akademika og biblioteker. * finnes i kompendium som selges p? Kopiutsalget i kjelleren p? Akademika.? er forel?pig uavklart, og informasjon kommer senere.
General resources
JSTOR , for papers in art-historical and conservation journals such as Studies in Conservation.
AATA Online (Art and Archaeology Technical Abstracts , Abstracts of International Conservation Literature, see:
National Gallery Technical Bulletin, 1977–2010 bibserv.utl?nssted Arkeologisk bibliotek, Kulturhistorisk museum Bibliotek UBO. Bibl. for humaniora og samfunnsvitenskap
中国竞猜网_中国足彩网-足球推荐 Pb.6762, St.Olavs pl (bes?k:Frederiksgt.3) Postnr N-0130 Poststed Oslo Telefon 22859570 E-post mailto:<arkeologisk@ub.uio.no>
Libraries at Nasjonalmuseet (not in BIBSYS) and Riksantikvaren
"Blog, Den Fargerike middelalderen, Kaja Kollandsrud": http://kollandsrud.wordpress.com/ Blog from Johns Hopkins University: Critical Issues in Art Conservation
Semester project
Pigment logbook, with literature search
Obligatory tasks: literature search
The pensum reading is not divided equally throughout the course. After the first lectures, an obligatory task will be to prepare your own literature list for each lecture.
Changing pictures: external influences and internal mechanisms
Ainsworth 2005 – ‘From Connoisseurship to Technical Art History: The Evolution of the Interdisciplinary Study of Art’ . Getty Conservation Institute Newsletter 20(1), 2005.
* Forni, U., ‘The transfer of an oil painting from a panel to canvas (1866)’, in Issues in the Conservation of Paintings, eds. D. Bomford and M. Leonard, Getty Conservation Institute, Los Angeles, 2004, 245–248.
* Gilberte ?mile-M?le, ‘The first transfer at the Louvre in 1750: Andrea del Sarto’s La Charité (1982)’, in Issues in the Conservation of Paintings, eds. D. Bomford and M. Leonard, Getty Conservation Institute, Los Angeles, 2004, 275–289.
* Harding, E., and Oddy, A., ‘Leonardo da Vinci’s cartoon The Virgin and Child with St Anne and St John the Baptist’, in The Art of the Conservator, ed. A. Oddy, British Museum Press, London, 1992, 28–41.
* McClure, I., ‘Henry Prince of Wales on Horseback by Robert Peake the Elder’, in The Art of the Conservator, ed. A. Oddy, British Museum Press, London, 1992, 59–72.
* Nadolny, J., and Roy, A., ‘The original technique of the Westminster Abbey portrait of Richard II’, in Medieval Painting in Northern Europe. Techniques, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, ed. J. Nadolny, Archetype, London, 2006, 137–147.
* Streeton, N.L., ‘The consequences of cleaning the mummy portraits from the Petrie Museum of Egyptian Archaeology’, in Painting Specialty Group Postprints, AIC 32nd Annual Meeting, June 9-14, 2004, Portland, Oregon, American Institute for Conservation, Washington D.C., 2005, 43?55.
* van Eikema Hommes, M., ‘Painters’ methods to prevent colour changes described in sixteenth to early eighteenth century sources on oil painting techniques’, in Looking Through Paintings. The Study of Painting Techniques and Materials in Support of Art Historical Research, ed. E. Hermens, de Prom, Baarn, 1998, 91–131.
* Stols-Witlox, M., ‘Historical restoration recipes: the cleaning of oil paintings 1600?1900’, in ICOM-CC 16th Triennial Conference, Lisbon, 19?23 September 2011, ed. J. Bridgeland, Critério, Almada, 2011, 7 pages.
Making durable colours: Technical treatises, painters handbooks and methods used by artists to avoid and anticipate change
* Carlyle, L., The Artist’s Assistant: Oil Painting Instruction Manuals and Handbooks in Britain 1800–1900 with Reference to Selected Eighteenth-Century Sources, Archetype, London, 2001, 1?54.
Carlyle, L., and Witlox, M., ‘Historically accurate reconstructions of artists’ oil painting materials’ , Tate Papers, Spring 2007, 5 pages.
* Cennino d’Andrea Cennini, The Craftsman’s Handbook “Il Libro dell’ Arte”, trans. and ed. D.V. Thompson, Jr, Dover Publications, New York, 1960. (Original: Yale University Press, New Haven, 1932.) 20?39.
* Merrifield, M.P., ‘Bolognese Manuscript’, in Medieval and Renaissance Treatises on the Arts of Painting, 2 vols., Dover Publications, Mineola (NY), 1999. (Original: Original Treatises dating from the XIIth to XVIIth centuries on the arts of painting, in oil, miniature, mosaic, and on glass, John Murray, London, 1849). Read: ‘Preliminary observations’, pp. 325–339; pp. 340–404, making a good blue; pp. 418–430, making copper greens; p. 428, making ‘lead-tin’ yellow; pp. 432–456, making lakes; pp. 478–480, making vermilion; p. 484, making lead white.
* Woudhuysen-Keller, R., and Woudhuysen, P., ‘Thoughts on the use of the green glaze called “copper resinate” and its colour-changes’, in Looking Through Paintings. The Study of Painting Techniques and Materials in Support of Art Historical Research, ed. E. Hermens, de Prom, Baarn, 1998, 133–146.
Further reading (external to pensum):
Clarke, M., 2001, The Art of All Colours. Medieval Recipe Books for Painters and Illuminators, Archetype Publications, London, 3.
Doerner, M., 1969, The Materials of the Artist and Their Use in Painting with Notes on the Techniques of the Old Masters, trans. E. Neuhaus, revised edn, Rupert Hart- Davis Ltd., London. [original: 1933, Malmaterial und seine Verwendung im Bilde, Stuttgart].
Eastlake, C.L., 1960, Methods and Materials of the Great Schools and Masters, Vol. 1, Dover Publications, New York.
Caley, E.R., and Richards, J.F.C., 1956, Theophrastus on Stones, Ohio State University, Columbus.
Massing, A., 1990, ‘Painting materials and techniques: towards a bibliography of the French literature before 1800’, Die Kunst und ihre Erhaltung: Rolf E. Straub zum 70. Geburtstag gewidmet, Wernersche Verlagsgesellschaft, Worms, 57-96.
Roosen-Runge, H., 1973, Farbgebung und technik Frühmittelalterlicher Buchmalerei : Studien zu den Traktaten ‘Mappae Clavicula’ und ‘Heraclius’, 2 vols., Deutscher Kunstverlag, Munich. (An attempt to find relationships between sources and technical analyses of book paintings.)
Theophilus Presbyter, On Divers Arts. The Foremost Medieval Treatise on Painting, Glassmaking and Metalwork, trans. J.G. Hawthorne and C.S. Smith, revised, Dover Publications, Mineola (NY), 1979.
Thompson, D.V., 1956, The Materials and Techniques of Medieval Painting, Dover Publications, New York. [original: 1936, G. Allen and Unwin, London]
Pigment composition and binding media before the early 20th century
* Higgitt, C., Spring, M., and Saunders, D., ‘Pigment-medium interactions in oil paint films containing red lead or lead-tin yellow’, National Gallery Technical Bulletin 24, 2003, 75–95.
* Keune, K., ‘Introduction’, in Binding Medium, Pigments and Metal Soaps Characterised and Localised in Paint Cross-Sections, PhD Thesis, AMOLF (FOM Institute for Atomic and Molecular Physics) and the University of Amsterdam, 2005, 2–12.
* Kirby, J., Saunders, D., and Cupitt, J., ‘Colorants and colour change’, in Early Italian Paintings, Techniques and Analysis, Symposium, Maastricht, 9–10 October 1996, eds. T. Bakkenkist, R. Hoppenbrouwers and H. Dubois, Limburg Conservation Institute, Maastricht, 1997, 65–71.
Languri, G., ‘Effect of additives and driers on paint composition’ , AMOLF research.
* Phenix, A., ‘The composition and chemistry of eggs and egg tempera’, in Early Italian Paintings. Techniques and Analysis. Symposium, Maastricht, 9–10 october 1996, eds. T. Bakkenist, R. Hoppenbrouwers and H. Dubois, Limburg Conservation Institute, Maastricht, 1997, 11–20.
* Plesters, J., ‘A preliminary note on the incidence of discolouration of smalt in oil media’, Studies in Conservation, 14(2), 1969, 62–74.
* Plahter, U., ‘Colouring materials and binding media’, in U. Plahter, Painted Altar Frontals of Norway, 1250–1350. Volume 2: Materials and Technique, Archetype, London, 2004, 138–182.
* Spring, M., and Grout, R., ‘The blackening of vermilion: an analytical study of the process in paintings’, National Gallery Technical Bulletin 23, 2002, 50–61.
* Spring, M., and Higgitt, C., ‘Analyses reconsidered: the importance of the pigment content of paint in the interpretation of the results of examination of binding media’, in Medieval Painting in Northern Europe. Techniques, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, ed. J. Nadolny, Archetype, London, 2006, 223–229.
* van Loon, A., ‘Introduction’, in Color Changes and Chemical Reactivity in Seventeenth-Century Oil Paintings, PhD Thesis, AMOLF (FOM Institute for Atomic and Molecular Physics) and the University of Amsterdam, 2008, 10?17.
Further reading (external to pensum):
Kirby, J., and White, R., ‘The identification of red lake pigment dyestuffs and a discussion of their use’, National Gallery Technical Bulletin 17, 1996, 56-80.
Tate Britain, Modern Paint Podcasts, go here and follow the links.
Townsend, J., ‘Tate Rothko Research Project’ , MOLAB report
van den Berg, K.J., ‘Copper green glazes’ , Molart Progress Report, 2000,
From the support, up: paint reconstructions in context
?Video (1989) om rekonstruksjonen av Madonna fra Hedalen, Oppland , ca. 40 min.
Skulpturen er datert til midten av 1200-tallet. Rekonstruksjonen ble utf?rt med basis i den kunnskap vi har om middelalderens verkt?y og maleteknikker. F.eks. er fargenes bindemiddel olje, og s?lvfoliene er lagt direkte p? krittgrunderingen med et vannl?selig animalsk lim.Filmen ble produsert av malerikonservatorene ved KHM i 1989.
Further reading (external to pensum):
Townsend, J.H., Doherty, T., Heydenreich, G., Ridge, J. (Hrsg.), Preparation for painting: the artist’s choice and its consequences, Contributions to the ICOM-CC Working Group Paintings interim meeting held at the British Museum 31 May-1 June 2007, London, Archetype (05/2008).
Change in taste: Viewing medieval polychrome sculpture (Kaja Kollandsrud)
Tour of KHM medieval galleries directly after the lecture
* Blindheim, M., and Plahter, L.E., ?The Crucifix from Hovland Stave Church in Eggedal – a work of Rhenish origin? I’, Universitetets Oldsaksamlings ?rbok 1960?1961, 1963, 63?108.
* Simonsen, U., and Plahter, L.E., ‘The Virgin from Hovland Stave Church in Eggedal – Examination and conservation. I’ Universitetets Oldsaksamlings ?rbok 1963?1964, 1967, 79?97.
* Kollandsrud, K., ‘New Light on the Virgin from Veldre, the Virgin from ?stsinni and the Crucifix from Tretten. I’, in in Medieval Painting in Northern Europe. Techniques, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, ed. J. Nadolny, Archetype, London, 2006, 76?90.
* Kollandsrud, Kaja, ‘Vasari’s Theory on the Origins of Oil Painting and its Influence on Cleaning Methods: The Ruined Polychromy of the Early Thirteenth Century Crucifix from Haug, Norway’, in: Sculpture Conservation: Preservation or Interference?, ed. D. Lindley, Scholar Press, Liverpool, 1993, 139?149. [This is a technical study of a Norwegian Crucifix, painted in oil, which was damaged when it was cleaned as a tempera painting.]
* Fr?ysaker, T., and Kollandsrund, K., ‘The Calvary group in Urnes Stave Church, Norway: a technological examination’, in Medieval Painting in Northern Europe. Techniques, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, ed. J. Nadolny, Archetype, London, 43–58.
The changing appearance of the Ghent Altarpiece
* Coremans, P., ‘The technique of the “Flemish Primitives’”, in Issues in the Conservation of Paintings, eds. D. Bomford and M. Leonard, Getty Conservation Institute, Los Angeles, 2004, pp. 194–206.
* Streeton, N.L.W., ‘Claiming van Eyck’, in The Painting Technique of Jan van Eyck. Materials, Workshop Practice and Technical Art History, Archetype, London, 2012 (105?109/forthcoming).
? van Miegroet, H.J., ‘Recycling Netherlandish paintings in eighteenth-century France’, in Collectioner dans les Flandres et la France du Nord au VIIIe siècle. Ed. S. Raux, March, 2005, 251?288.
Obligatory task: Do a literature search for publications that address the topic of Jan van Eyck and oil paint.
Norsk kirkekunst: forandring av original sammenheng og overmaling siden 1200-tallet (Tine Fr?ysaker)
Tine Fr?ysaker, Otter?ykrusifikset – kilde til middelalderhistorie. NIKU 1994-1999 Kulturminneforskningens mangfold. NIKU Temahefte 31, 1999, 74?89. [Les s. 79, 81-88. I alt 6 sider]
Randi Gjertsen, Den korsfestede Kristus fra Skafs?s kirke. Tokke kommune i Telemark. Unders?kelser og konservering. NIKU Publikasjoner 123, 2002, 1?34. [Les. s. 3-5, 7, 10-17 samt vedlegg 2. I alt 8,5 sider]
Tine Fr?ysaker, Hvordan middelalderens krusifikser ble laget. I: Kors og krusifiks. Tre utsnitt av deres historie. NIKU Publikasjoner 105, 2001, 1?46. [Les s. 13-22. I alt 5,5 sider]
Tine Fr?ysaker, Den bemalte og forgylte kalvariegruppen fra 1100-tallet i Urnes stavkirke. Konservering 2001-2003. NIKU Rapport 3, 2003, 1?89. [Les s. 3, 8-10, 15-19, 30-34, 38-39. I alt 13,5 sider]
Tone Marie Olstad, Alterskapet i Grip stavkirke. Et 1700-talls alterskap fra middelalderen. Konservering 2001-2003. NIKU Rapport 5, 2003, 1?59. [Les s. 3, 5, 7-33. I alt 20 sider]
* Tine Fr?ysaker, Maleriene i Vats kirke. I: Vats kyrkje 150 ?r, 2005, 25?32. [Les s. 25-29. I alt 3,5 sider]
Tone Marie Olstad, Alterskapet fra senmiddelalderen i Hadsel kirke – et alterskap attribuert til Lekagruppen. Unders?kelse og behandling av alterskapet. Oppm?ling av fire alterskap i Lekagruppen. NIKU Rapport 21, 2008, 1?83. [Les s. 3, 27-33. I alt 8 sider]
From Cranach to German modernism: problems and solutions (Gunnar Heydenreich)
* Heydenreich, G., ‘…that you paint with wonderful speed’ Virtuosity and efficiency in the artistic practice of Lucas Cranach the Elder’/‘…dass Du mit wunderbarer Schnelligkeit malest’ Virtuosit?t und Effizienz in der künstlerischen Praxis Lucas Cranachs d.?.’, in Cranach der ?lter, ed. B. Brinkman, (St?del Museum, Frankfurt am Main, 23 November 2007–17 February 2008), St?del, Frankfurt, 2007; Royal Academy of Arts, London, 2008, 29–47.
* Heydenreich, G., Carson, D., Grzywacz, C., Khanjian, H., Mazurek, J., Schilling, M., ‘Painting on white canvas: Sixteenth century bleaching practices and the analysis of morphological and chemical changes in flax fibres’ in ICOM-CC, ed., Preprints to the ICOM-CC 15th Triennial Meeting in New Delhi, September 2008, London, 2008, 5 pages.
Making art in Tudor Britain
National Portrait Gallery, London, Making art in Tudor Britain website?
Munch’s Aula Paintings: Are they preserved? (Tine Fr?ysaker)
Fr?ysaker, Tine, Liu, Mirjam & Thierry Ford, Backing Munch - past and present attachment of Edvar Munch's monumental Aula paintings to rigid supports, (forthcoming).
Mengshoel, Karen, Liu, Mirjam, Moltubakk Kempton, Hanne & Tine Fr?ysaker, Moving monumental Munch: From listed building to temporary studio - and back, (forthcoming).
Fr?ysaker, Tine, Miliani, Costanza & Mirjam Liu, Non-Invasive Evaluation of Cleaning Tests Performed on "Chemistry" (1909-1916), a Large Unvarnished Oil Painting on Canvas by Edvard Munch, I: Restauro 4, 2011, 53-63.
Fr?ysaker, Tine & Mirjam Liu, Four (of eleven) unvarnished oil paintings on canvas by Edvard Munch in the Aula of Oslo University: Preliminary notes on their materials, techniques and original appearances , I: Restauro 1, 2009, 44-62.
Fr?ysaker, Tine, Bevaring av Edvard Munchs Aulamalerier f?r og n? , I: Kunst og Kultur 1, 2008, 2-17.
Noble, P. and Boon, J.B., ‘Metal soap degradation of oil paintings: Aggregates, increased transparency and efflorescence’ in AIC Paintings Speciality Group Postprints, Vol. 19, AIC, Washington, D.C., 2007, 1–15.
* Shimadzu, Y., Keune, K., van den Berg, K.J., Boon, J.J., and Townsend, J.H., ‘The effects of lead and zinc white saponification on surface appearance of paint’, in ICOM-Committee for Conservation, 15th Triennial Meeting, New Delhi, 22?26 September 2008, ed. J. Bridgland, Allied Publishers Ltd., New Delhi, Vol II. 2008, 626?632.
van der Weerd, J., et al. ?Zinc soap aggregate formation in ’Falling Leaves’ (Les Alyscamps) by Vincent van Gogh’, Zeitschrift für Kunsttechnologie und Konservierung 17(3), 2003, 407?416.
* Koller, J., and Burmester, A., ?Blanching of unvarnished moderen paintings: a case study on a painting by Serge Poliakoff’, in Cleaning, Retouching and Coating. Contributions to the IIC Brussels Congress, 3?7 September 1990, eds. J. Mills and P. Smith, IIC, London, 1990, 138?143.
Conservation and change / Change and conservation
* Heydenreich, G., ‘Removal of a Wax-Resin Lining and Colour Changes: A Case Study‘, The Conservator, 1994, 22?26.
Stols-Witlox, M., ‘Historical restoration recipes: the cleaning of oil paintings 1600?1900’, in ICOM-CC 16th Triennial Conference, Lisbon, 19?23 September 2011, ed. J. Bridgeland, Critério, Almada, 2011, 5 pages (digital copy).
* Walden, S., The Ravished Image: Or, How to Ruin Masterpieces by Restoration, Weidenfeld, London, 1985, pages TBA.
* Cook, R., ‘What, why and how? The technical examination of paintings explained’, in Idea to Object – Painting Practices Observed, eds. L. Sheldon, R. Cook, and N. Streeton, University College London, 2007, 14–19.
Ageing of modern paint
Coddington, J.,(2007) “Modern Paints, Conservation of”, i Modern Paints Uncovered: Proceedings from the Modern Paints Uncovered Symposium, Getty Conservation Institute: Los Angeles, s. 30-40
Jablonski, E., Learner, T., Hayes, J. og Golden, M., (2004) “Conservation Concerns for Acrylic Emulsion Paints: A Literature Review” , i Tate Papers, Autumn 2004.
* Muir, K., Gautier, G., Casadio, F., Vila, A., (2011) “Interdisciplinary Investigation of Early House Paints: Picasso, Picabia and their “Ripolin” Paintings – Revision 1”, ICOM Committee for Conservation, 16th Triennial Meeting, Lisbon 19-23 September 2011
* Pereira, A., Melo, M., Learner, T., Sch?fer, S og Eaton, P., (2011) “The White Paintings of Juli?o Sarmento: Issues in Characterization, Degradation and Treatment”, i ICOM Committee for Conservation, 16th Triennial Meeting, Lisbon 19-23 September 2011
Cleaning problems
Ormsby, B., Learner, T., Schilling, M., Druzik, J., Khanjian, H., Carson, D., Foster, G. og Sloan, M., (2206) “The Effects of Surface Cleaning on Acrylic Emulsion Paintings: A Preliminary Investigation” , I Tate Papers, Autumn 2006.
'Death' of the object
Barker, R. og Bracker, A, (2005) ”Beuys is Dead: Long Live Beuys! Characterising Volition, Longevity, and Decision-Making in the Work of Joseph Beuys” , i Tate Papers, Autumn 2005.
Other
Mancusi-Ungaro, Carlo. (1999). ?Original intent: The artist`s voice.` I Modern Art: Who cares?. Hummelen, Isjbrandt & Sillé Dionne (red). Amsterdam: The foundation for the Conservation of Modern Art and the Netherlands Insitute for Cultural Heritage. S. 392 -393.
Wharton, G., (2009) “INCCA: A Model for Conserving Contemporary Art” , i Conservation Perspectives, The GCI Newsletter 24.2, Fall 2009.
The artist’s intentions: problems for scientific conservation
* Dykstra, S.W., ‘The artist’s intentions and the intentional fallacy in fine arts conservation’, Journal of the American Institute for Conservation 35(3), 1996, 197?218.
* Gage, J., ‘Constancy and change in late nineteenth century French painting’, in Appearance, Opinion, Change: Evaluating the Look of Paintings, UKIC, London, 1990, 32–35.
* Monico, L., et al., ‘Degradation process of lead chromate in paintings by Vincent van Gogh studied by means of Synchrotron X-ray Spectromicroscopy and related methods. 1. Artificially aged model samples, Analytical Chemistry, 2011, 7 pages.