Pensum/læringskrav

Main text:

Stuart 2007 – Stuart, B., Analytical Techniques in Materials Conservation, Wiley & Sons, Ltd, Chichester, 2007.

Articles, by author:

Cook, R., ‘What, Why and How? The technical examination of paintings explained’, in Idea to Object – Painting Practices Observed (exhibition catalogue), eds. L. Sheldon, R. Cook and N. Streeton, University College London, 2007, pp. 14–19.

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. (This is a partial translation of: Coremans, P., ‘La technique des “Primitifs flamands”. Étude scientifique des matériaux, de la structure et de la technique picturale. III. Van Eyck: L’Adoration de l’agneau mystique (Gand: Cathédrale Saint-Bavon)’, Studies in Conservation 1(4), 1954, 145161.)

Eastaugh, N., Walsh, V., Chaplin, T., and Siddall, R., ‘Introduction’, in Pigment Compendium. Optical Microscopy of Historical Pigments (vol. 2), Elsevier Butterworth-Heinemann, Oxford, 2004, pp. xi–xl.

Faries, M., ‘The underdrawing in Jan van Eyck’s Dresden Triptych’, in La Peinture dans les Pays-Bas au 16e siècle. Practiques d’atelier. Infrarouges et autres méthodes d’investigation. Le Dessin sous-jacent et de la technologie dans la peinture. Colloque XII, 11–13 septembre 1997, eds. H. Verougstraete and R. van Schoute, with A. Dubois, Uitgeverij Peeters, Leuven, 1999, pp. 221–230.

Feller, R.L., and Bayard, M., ‘Terminology and procedures used in the systematic examination of pigment particles with the polarizing microscope’, in Artists’ Pigments. A Handbook of Their History and Characteristics, Vol. 1, ed. R.L. Feller, National Gallery of Art, Washington, D.C., and Oxford University Press, Oxford, 1986, pp. 285298.

Fischer, C., and Kakoulli, I., ‘Multispectral and hyperspectral imaging technologies in conservation: current research and potential applications’, Reviews in Conservation 7, 2006, pp. 3–16.

Fremout, W., Saverwyns, S., Peters, F., and Deneffe, D., ‘Non-destructive micro-Raman and X-ray fluorescence spectroscopy on pre-Eyckian works of art – verification with the results obtained by destructive methods’, Journal of Raman Spectroscopy 37, pp. 1035–1045.

Frøysaker, 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, pp. 43–58.

Frøysaker, T., and Liu, M., ‘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’, Restauro 1, 2009.

Gettens, R.J., Kühn, H., and Chase, W.T., ‘Lead white’, in Artists’ Pigments. A Handbook of Their History and Characteristics, Vol. 2, ed. A. Roy, National Gallery of Art, Washington, D.C., and Oxford University Press, Oxford, 1993, pp. 6781.

Gettens, R.J., Feller, R.L., and Chase, W.T., ‘Vermilion and cinnabar’, in Artists’ Pigments. A Handbook of Their History and Characteristics, Vol. 2, ed. A. Roy, National Gallery of Art, Washington, D.C., and Oxford University Press, Oxford, 1993, pp. 159182.

Gifford, E.M., Halpine, S., Lomax, S.Q., and Schilling, M.R., ‘Interpreting analyses of the painting medium: a case study of a pre-Eyckian altarpiece’, in Recent Developments in the Technical Examination of Early Netherlandish Painting: Methodology, Limitations & Perspectives, eds. M. Faries and R. Spronk, Harvard University Art Museums, Cambridge, 2003b, pp. 202206.

Glinsman, L., ‘The practical application of air-path X-ray fluorescence spectrometry in the analysis of museum objects’, Reviews in Conservation 6, 2005, pp. 3–17.

Henderson J., ‘Scientific method in the transition from students to professionals’, in Conservation in Wales, The role of science in Conservation, Federation of Museums and Art Galleries Wales and the National Museum Wales, Cardiff (2010).

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, pp. 7595.

Keune, K., ‘Introduction’, in Binding Medium, Pigments and Metal Soaps Characterised and Localised in Paint Cross-Sections, Molart Report 11, FOM, Amsterdam.

Khandekar, N., ‘Preparation of cross-sections from easel paintings’, Reviews in Conservation 4, 2003, pp. 52–64.

Kirby, J., and White, R., ‘The identification of red lake pigment dyestuffs and a discussion of their use’, National Gallery Technical Bulletin 17, 1996, pp. 5680.

Kühn, H., ‘Detection and identification of waxes, including Punic wax, by infra-red spectrography’, Studies in Conservation 5, 1960, pp. 71–80.

Kühn, H., ‘Lead-tin yellow’, in Artists’ Pigments. A Handbook of Their History and Characteristics, Vol. 2, ed. A. Roy, National Gallery of Art, Washington, D.C., and Oxford University Press, Oxford, 1993, pp. 83112.

Kühn, H., ‘Verdigris and copper resinate’, in Artists’ Pigments. A Handbook of Their History and Characteristics, Vol. 2, ed. A. Roy, National Gallery of Art, Washington, D.C., and Oxford University Press, Oxford, 1993, pp. 131158.

Kunicki-Goldfinger, J.J., ‘Unstable historic glass: symptoms, causes, mechanisms and conservation’, Reviews in Conservation 9, 2008, 47–60.

Laane, M.M., and Lie, T., ‘Elektronmikroskopet’, in Moderne mikroskopi med enkle metoder, Unipub, Oslo, 2007, pp. 135–140.

Mills, J.S., and White, R., ‘Analytical methods’, in The Organic Chemistry of Museum Objects. 2nd ed., Butterworth-Heinemann, Oxford, 1994, pp. 13–25.

Newman, R., ‘Chapter 3: Organic Binders’, in The Science of Paintings, eds. S. Taft and J.W. Mayer, Springer-Verlag, New York, 2000, pp. 26-41.

Noble, P., Boon, J.J., and Wadum, J., ‘Dissolution, aggregation and protrusion. Lead soap formation in 17th century grounds and paint layers’, Art Matters. Netherlands Technical Studies in Art 1, 2002, pp. 4661.

Oddy, Andrew, ‘Scientific examination of artefacts’, in Manual of Curatorship: A Guide to Museum Practice, 2nd ed., ed. J.M.A. Thompson, Butterworth Heinemann, Oxford (1994) pp. 480–486.

Odegaard, N., Carroll, S., and Zimmt, W.S., ‘Spot tests for metals’ and ‘Spot tests for organic materials’, in Material Characterization Tests for Objects of Art and Archaeology, Archetype, London, 2000, pp. 33–96; 127–174.

Pearlstein, E., ‘Fatty bloom on wood sculpture from Mali’, Studies in Conservation 31, 1986, pp. 83–91.

Pilc, J., and White, R. ‘The application of FTIR-microscopy to the analysis of paint binders in easel paintings’, National Gallery Technical Bulletin 16, 1995, pp.7384.

Plahter, U., ‘The St Olav from Fresvik and the St Paul from Gausdal: two medieval polychromed sculptures. Part 2: painting technique, materials and structures’, 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, pp. 28–33. (Original: in Universitetets Oldsaksamlings Årbok, 1979, pp. 213–227.)

Plahter, U., ‘The crucifix from Hemse: analyses of the painting technique’, 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, pp. 11–19. (Originally printed in Maltechnik-Restauro 90(1), 1984, pp. 35–44.)

Plesters, J., ‘Cross-sections and chemical analysis of paint samples’, Studies in Conservation 2(3), 1956, pp. 110157.

Plesters, J., ‘Ultramarine blue, natural and artificial’, in Artists’ Pigments. A Handbook of Their History and Characteristics, Vol. 2, ed. A. Roy, National Gallery of Art, Washington, D.C., and Oxford University Press, Oxford, 1993, pp. 3766.

Paterakis, Alice B., ‘Conservation: preservation versus analysis?’, in Archaeological conservation and its consequences : preprints of the contributions to the Copenhagen Congress, 26–30 August 1996, eds. A. Roy and P. Smith, eds., IIC, London, 1996, pp. 143–148. (Reading in advance of lecture X)

Scott, D.A., Taniguchi, Y., and Koseto, E., ‘The verisimilitude of verdigris: a review of the copper carboxylates’, Reviews in Conservation 2, 2001, pp. 7391.

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, pp. 223–229.

Tucker, M., Passeri, I., Sutherland, K., and Price, B.A., ‘Technique and Pontormo’s Portrait of Alessandro de’ Medici’, in Pontormo, Bronzino, and the Medici. The Transformation of the Renaissance Portrait in Florence, ed. C.B. Strehlke, Philadelphia Museum of Art, Philadelphia, 2004, pp. 34–54.

van Asperen de Boer, J.R.J., ‘Infrared reflectograms of panel paintings’, Studies in Conservation 11, 1966, pp. 45–46.

van den Berg, K.J., van Eikema Hommes, M.H., Groen, K.M., Boon, J.J., and Berrie, B., ‘On copper green glazes in paintings’, in Art et Chimie, la Couleur: Actes du Congrès, eds. J. Goupy and J.-P. Mohen, Paris, CNRS Éditions, Paris, 2000, pp. 18–21.

Wainwright, N.M., ‘Examination of paintings by physical and chemical methods’, in Shared Responsibility: Proceedings of a Seminar for Curators and Conservators, National Gallery of Canada, Ottawa, 1989, pp. 79–102.

Walker, P., ‘The tools available to the mediaeval woodworker’, Woodworking Techniques before A.D. 1500. Papers Presented to a Symposium at Greenwich in September, 1980, ed. S. McGrail, National Maritime Museum, Greenwich, Archaeological Series No. 7, B A R Series 129, 1982, pp. 349–356.

White, R., ‘The application of gas-chromatography to the identification of waxes’, Studies in Conservation 23, 1978, pp. 57–68.

White, R., and Kirby, J., ‘Some observations of the binder and dyestuff composition of glaze paints in early European panel paintings’, 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, pp. 215–222.