Conference on deterioration of artists' paints

Joint meeting of ICOM Committee for Conservation, Working Groups
Paintings 1 and Paintings 2
and The Paintings Section, United Kingdom Institute for Conservation

Deterioration of Artists' Paints: Effects and analysis
Venue: BP Lecture Theatre, British Museum, London
September 10-11, 2001

We are pleased to announce the provisional list of presentations and
speakers for the meeting:

    Leslie Carlyle (Canadian Conservation Institute)
    Historical reconstructions of artists--oil paint: an
    investigation of oil processing methods and the use of selected
    artists' mediums

    Klaas Jan van den Berg (ICN Amsterdam), Joyce H. Townsend (Tate
    Gallery, London), Leslie Carlyle(CCI) and Annebeth Kerkhoff
    (FOM-AMOLF, Amsterdam) -
    On the transparency of 19th-Century oil paints.

    Klaas Jan van den Berg and Muriel Geldof (ICN Amsterdam)
    Darkening and surface degradation phenomena in Dutch late 19th-
    and early 20th-Century paintings: a progress report.

    Jacky Malligol, (Dept. of Physics, University of Surrey, UK)
    Ageing of oil-based paintings and varnishes

    Maria Brunskog (Stockholm)
    Goose-skin and orangepeel: alterations of structural texture of
    objects with japanned surfaces

    Georgiana M. Languri, Jorrit van den Berg and Jaap.J. Boon
    (FOM-AMOLF, Amsterdam)
    Effects of additions of mastic, Copaiba Balsam, asphalt or earth
    pigments on the chemical drying of oil and oil paint

    Jaap J. Boon, Jaap van der Weerd, Katrien Keune (FOM-AMOLF,
    Amsterdam) and Petria Noble (Mauritshuis, Den Haag)
    Chemical changes in old master paintings: dissolution, metal
    soap formation and remineralisation processes in lead pigmented
    paint layers of 17th Century paintings.

    Rebecca Hellen, Maja R. Solajic, (Conservation Centre, NMGM
    Liverpool) and Brian Singer (Univ. of Northumbria at Newcastle
    upon Tyne, UK)
    A study of aged dislocated paint layers in Nearing Camp, Evening
    on the Upper Colorado River (1882) by Thomas Moran

    Stephen Hackney, Jacqueline Ridge, Joyce H Townsend (Tate
    Gallery, London) and Klaas Jan van der Berg (ICN Amsterdam)
    Visual deterioration in Pre-Raphaelite paintings

    Michael Duffy & Chris McGlinchey (Museum of Modern Art, NY)
    Weeping Cadmium Paint: A Case Study

    Meta Chavannes (Hamilton Kerr Institute, Cambridge) and Rosanna
    Eadie (Royal Collection, UK)
    Two hundred years of blues: Application and alteration of
    azurite and ultramarine c. 1480--1680, and implications for
    conservation treatment

    Dominique Allart, Cicile Oger, Sophie Denoel (Groupe
    interdisciplinaire d'Archiomitrie de l'Universiti de Lihge)
    Observations relatives aux pigments bleus chez Henri Bles

    Marika Spring and Rachel Grout (National Gallery, London)
    The Blackening of Vermilion; A Study of the Process through the
    Detailed Analysis of Paint Samples

    Catherine Higgitt, Marika Spring and David Saunders (National
    Gallery, London)
    The effect of pigment-medium interactions on the appearance of
    paint films containing red lead or lead-tin yellow

    Hilhne Dubois, Sabrina Meloni, Erika Metz, Barbara Schoonhoven
    and Arie Wallert (SRAL, Maastricht and Rijksmuseum, Amsterdam)
    Breakdown Processes of Orpiment- and Realgar-based
    Sixteenth-century Paints.

    Ros Whitehouse and  Nicholas Eastaugh
    Deterioration of paint films in the work  of Sir Alfred Munnings
    (1878-1959).

    Melanie Caldwell, (National Trust, UK)
    Twentieth century painting and restoration materials and their
    effect on Stanley Spencer paintings in the Sandham Chapel,
    Burghclere, National Trust

    Reni Boitelle (Van Gogh Museum, Netherlands)
    Descending into details of Th. Rousseau's La descente des vaches
    (Museum Mesdag, The Hague): Technical Research of a Darkened
    Painting

    Michael O'Malley (Centre de conservation du Quibec) and
    Elizabeth A. Moffatt, (Canadian Conservation Institute)
    Paul-Imile Borduas: problems with the blacks in the later
    paintings (1955-1960)

    Spike Bucklow (Hamilton Kerr Institute, Cambridge)
    Pigment/medium interaction: the visible evidence

    Susanne Stangier (Den Haag, the Netherlands)
    Documentation-identification-classification. A phenomenological
    approach to changes in the appearance of paintings.

    Elizabeth Jablonski, James Hayes and Mark Golden (Golden
    Artists' Colors, USA)
    The Conservation Cleaning of Acrylic Dispersion Paint Films:
    Preliminary Investigations

Registration forms for the meeting are now available and can be
obtained in hardcopy or electronic format from:

    Alan Phenix
    RCA/V&A Conservation Course Rooms,
    Victoria & Albert Museum
    South Kensington
    London SW7 2RL,  UK
    +44 20 7942 2095
    a.phenix [at] vam__ac__uk or
    alnphenix [at] aol__com

or

    Rebecca Moisan
    Conservation Officer.
    Southampton City Art Gallery
    Southampton City Council
    Civic Centre
    Southampton SO14 7LP, UK
    +44 238 083 2203
    artgallery [at] southampton__gov__uk

Registration fees:

    UKIC Member: UKP75.00
    ICOM Member: UKP75.00
    Non-Member of ICOM or UKIC: UKP90.00
    Student, or un-waged: UKP45.00


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                  Conservation DistList Instance 14:56
                  Distributed: Monday, April 23, 2001
                       Message Id: cdl-14-56-010
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