JAIC 1990, Volume 29, Number 1, Article 4 (pp. 45 to 76)
JAIC online
Journal of the American Institute for Conservation
JAIC 1990, Volume 29, Number 1, Article 4 (pp. 45 to 76)




Berger, G. A.1972. Testing adhesives for the consolidation of paintings. Studies in Conservation17:173–93.

Berger, G. A.1975. Heat-seal lining of a torn painting with Beva 371. Studies in Conservation20:126–51.

Berger, G. A.1978. Preventive conservation of painted objects. ICOM Committee for Conservation 5th Triennial Meeting, Zagreb, 78/6/1.

Berger, G. A.1980. Decay of painted objects: Causes and prevention. In International symposium on the conservation of contemporary art, Ottawa: National Gallery of Canada.

Berger, G. A.1981. The role of tension in the preservation of canvas paintings: A study of panoramas. ICOM Committee for Conservation 6th Triennial Meeting, Ottawa, 81/2/3, 1–12.

Berger, G. A.1983. Winning canvas paintings' battle of the bulge: A structural alternative. Technology and Conservation4(Spring 1983):5–8.

Berger, G. A.1984. A structural solution for the preservation of canvas paintings. Studies in Conservation29:139–42.

Berger, G. A., and W. H.Russell. 1984. The new stress tests on canvas paintings and some of their implications on the preservation of paintings. ICOM Committee for Conservation 7th Triennial Meeting, Copenhagen, 84/2/7–9.

Berger, G. A., and W. H.Russell. 1986. Investigations into the reactions of plastic materials to environmental changes. Part I: The mechanics of decay of paint films. Studies in Conservation31:49–64.

Berger, G. A., and W. H.Russell. 1987. Some conservation treatments in the light of the latest stress measurements. ICOM Committee for Conservation 8th Triennial Meeting, Sydney, 1:127–36.

Berger, G. A., and W. H.Russell. 1988. An evaluation of the preparation of canvas paintings using stress measurements. Studies in Conservation33:187–204.

Bresee, R. R.1986. General effects of ageing on textiles. Journal of the American Institute for Conservation25:39–48.

Buck, R. D.1978. The behavior of wood and the treatment of panel paintings. In Upper Midwest Conservation Association, collection of papers 1952–1972. Minneapolis: Upper Midwest Conservation Association.

Dwan, A.1987. Paper complexity and the interpretation of conservation. Journal of the American Institute for Conservation, 26:1–18.

Guilly, R., M.Sotton, and M.Chevalier. 1981. Etude des propriet�s de doublages experimentaux � la colle synthetique. ICOM Committee for Conservation 6th Triennial Meeting, Ottawa, 81/5/1–13.

Hedley, G.1988. Relative humidity and the stress/strain response of canvas paintings: Uniaxial measurements of naturally aged samples. Studies in Conservation33(3):133–48.

Kuzmitch, L. A.1978. A new method of investigating stressed state of artistic works in restoration and conservation practice. ICOM Committee for Conservation 5th Triennial Meeting, Zagreb, 78/1/10.

Russell, W. H., and G. A.Berger. 1982. The behavior of canvas as a structural support for painting. Science and Technology in the Service of Conservation, IIC-Washington Congress, London: IIC. 139–45.

Skeist, I.. 1965. Handbook of adhesives. New York: Reinhold Publishing Co.78.

Stolow, N.1977. The microclimate: A localized solution. Museum News55(November/December Technical Supplement):52–63.

Thomson, G.1977. Stabilisation of RH in exhibition cases: hygrometric half-time. Studies in Conservation22:85–102.

Urbani, G.1973. Applicazioni delle “Termovisione” nel campo della conservazione delle opere d'arte. In Problemi di conservazione, ed.G.Urbani. Bologna: Editrice Compositori. 317–27.


GUSTAV A. BERGER studied art in Vienna, civil engineering at the Haifa Technical Institute, and art restoration in Bologna. In New York, he was assistant to Mario Modestini and William Suhr. In 1965, he began research on adhesives for the consolidation of paintings, supported by grants from the Samuel H. Kress Foundation. After developing a new adhesive, BEVA 371, he went on to investigate and develop other materials for use in conservation on a grant from the National Endowment for the Arts. Since 1980, his research has focused on the reaction of stretched canvas to changes in ambient temperature and humidity. He heads the Art Conservation Research Foundation, Ltd., a public, not-for-profit organization. Address: Art Conservation Research Foundation, Ltd., 115 West 73rd Street, New York, New York 10023-2940.

WILLIAM H. RUSSELL has an MSAE degree in Architectural Engineering from the University of Illinois (1973). He taught at the University of Illinois, and has been Assistant Professor, Georgia Institute of Technology College of Architecture, since 1979. He is a member of numerous professional societies, including American Institute of Architects, American Institute of Steel Construction, and American Concrete Institute. Russell is a practicing registered architect and structural engineer. Address: Georgia Institute of Technology, College of Architecture, Atlanta, Georgia 30322.

Copyright � 1990 American Institute for Conservation of Historic and Artistic Works