Inpainting

I am a student in paper conservation at the National Gallery in
Oslo, Norway, and am now about to start working on my MA project,
the subject of which will be retouching of works of art on paper.

As retouching of art on paper is quite a controversial subject on
which little is published, I would appreciate very much if some of
you on the DistList would answer a few questions. I am curious to
know which practice is followed by paper conservators both in Europe
and USA, and if there are major differences between conservators
working in museums and in private practice.

    1.  What does the term "retouching" signify to you?
    2.  Are there other words you would rather use?
    3.  Do you think the view of retouching has changed the last
        10-15 years?
    4.  In your opinion, what are the advantages of retouching?
    5.  And the disadvantages?
    6.  Are there occasions where you would retouch an item?
    7.  If yes, which methods would you use?
    8.  Would you use integrated, visible or neutral retouches?
    9.  Would you prefer using materials different from or similar
        to those of the original?
    10. Would there be any items you would never retouch?

    **** Moderator's comments: From the AATA: Scope note - Reworking
        small areas of a painting or photographic negative usually
        to cover damage or to mask unwanted features. For similar
        work done on paintings by conservators, use "inpainting" or
        "overpainting." Hence the Subject: line above.

Tina Grette Poulsson
Intern MA Paper Conservation
Nasjonalgalleriet
Postboks 8157 Dep
0033 Oslo
+47 22 20 04 04
Fax: +47 22 99 38 63


                                  ***
                  Conservation DistList Instance 16:49
                Distributed: Thursday, February 20, 2003
                       Message Id: cdl-16-49-014
                                  ***