The Conservation Of Wall Paintings Proceedings Of A Symposium Organized By The Courtauld Institute Of Art And The Getty Conservation Institute London July 13 16 1987

This publication is the result of a symposium organized by the GCI and the Courtauld Institute of Art in London in 1987. Because the conservation of wall paintings requires an interdisciplinary approach, the purpose of the symposium was to facilitate the exchange of information among international conservators, scientists, and historians involved in major wall paintings conservation projects. The interdisciplinary nature of contemporary wall paintings conservation is reflected in this volume which contains the symposium's papers. The Sistine Chapel, the Brancacci Chapel, and the Tomb of Nefertari are among the well-known wall paintings discussed in this book by international experts in wall paintings conservation. The special problems associated with the protection of works such as these are explored from the perspective of diagnosis, documentation, treatment, and monitoring. A definitive paper on the effects of salts on wall paintings is also included.

The Mogao Grottoes, a World Heritage Site in northwestern China, are located along the ancient caravan routes—collectively known as the Silk Road—that once linked China with the West. Founded by a Buddhist monk in the late fourth century, Mogao flourished over the following millennium, as monks, local rulers, and travelers commissioned hundreds of cave temples cut into a mile-long rock cliff and adorned them with vibrant murals. More than 490 decorated grottoes remain, containing thousands of sculptures and some 45,000 square meters of wall paintings, making Mogao one of the world’s most significant sites of Buddhist art. In 1997 the Getty Conservation Institute, which had been working with the Dunhuang Academy since 1989, began a case study using the Late–Tang dynasty Cave 85 to develop a methodology that would stabilize the deteriorating wall paintings. This abundantly illustrated volume is the definitive report on the project, which was completed in 2010.

For millennia, people of all cultures have decorated the surfaces of their domestic, religious, and public buildings. Earthen architecture in particular has been, and continues to be, a common ground for surface decoration such as paintings, sculpted bas-relief, and ornamental plasterwork. This volume explores the complex issues associated with preserving these surfaces. Case studies from Asia, Europe, Africa, the Middle East, and the Americas are presented. The publication is the result of a colloquium held in 2004 at Mesa Verde National Park, Colorado, co-organized by the Getty Conservation Institute (GCI) and the National Park Service (NPS). The meeting brought together fifty-five conservators, cultural resource managers, materials scientists, engineers, architects, archaeologists, anthropologists, and artists from eleven countries. Divided into four themes--Archaeological Sites, Museum Practice, Historic Buildings, and Living Traditions--the papers examine the conservation of decorated surfaces on earthen architecture within these different contexts.

The third volume of reports on the excavations of noblemen’s tombs from the Kushite Period This is the third and final volume in the Tombs of the South Asasif Necropolis series dedicated to the ongoing work of the Egyptian–American South Asasif Conservation Project, under the auspices of the Ministry of Antiquities and directed by Elena Pischikova. The project was founded in 2006 to restore and reconstruct the early Kushite tombs of Karabasken (TT 391) and Karakhamun (TT 223) and the Saite tomb of Irtieru (TT 390). Tombs of the South Asasif Necropolis: Art and Archaeology 2015–2018 focuses on the conservation work in the tomb of Karakhamun and new discoveries in the tomb of Karabasken, which include the burial chamber of Karabasken, its monumental granite sarcophagus found in situ, and the Twenty-sixth Dynasty chapel and burial compartment of Padibastet built in the pillared hall of the tomb of Karabasken. Discussion of finds includes canopic jars, stelae, pottery, and animal bones among many others. Ongoing art historical research is reflected in the chapters on the artistry of the decoration of the tomb of Karakhamun and its uniquely preserved twenty-one-square grid. This volume also introduces new research on the name and titles of Irtieru. Contributors: Abdelrazk Mohamed Ali, Ramadan Ahmed Ali, Mariam Ayad, Louise Bertini, John Billman, Marion Brew, Julia Budka, Katherine Blakeney, Dieter Eigner, Hayley Goddard , Erhart Graefe, Kenneth Griffin, Salima Ikram, Fathy Yaseem Abd el Karim, Ezz El Din Kamal El Noby, Elena Pischikova, Manon Shutz

First published in 1996, this volume has been substantially updated to reflect new research in the conservation of stone monuments, sculpture, and archaeological sites.

A collection of essays and reports examining key issues in conservation and management of archaeological sites. It is divided into parts that focuses on historical methods, concepts, and issues; conserving the archaeological resource; physical conservation of archaeological sites; the cultural values of archaeological sites; and site management.

This book is the first introduction to Western art that not only considers how choice of materials can impact form, but also how objects in different media can alter in appearance over time, and the role of conservators in the preservation of our cultural heritage. The first four chapters cover wall and easel paintings, sculpture, drawings, and prints, from the late Middle Ages to the present day. They examine, with numerous examples, how these works have been produced, how they might have been transformed, and how efforts regarding their preservation can sometimes be misleading or result in controversy. The final two chapters look at how photography, new techniques, and modern materials prompted innovative ways of creating art in the twentieth century, and how the rapid expansion of technology in the twenty-first century has led to a revolution in how artworks are constructed and seen, generating specific challenges for collectors, curators, and conservators alike. This book is primarily directed at undergraduates interested in art history, museum studies, and conservation, but will also be of interest to a more general non-specialist audience.