Bridging the Gap: Synergies between Art History and Conservation

Acknowledgements

Introduction

Conservation narratives and practices 

The study, care and curation of the Sri Lankan bronze statue of Tara at the British Museum: an interdisciplinary and decolonising response
Sujatha Meegama and Lori Wong

Whose story to tell? The many masters of Bernt Notke’s altarpiece in Tallinn
Hilkka Hiiop, Anneli Randla, Hannes Vinnal and Kristina Aas

Use of a treatment option diagram for ethical considerations and risk assessment related to the treatment of Rembrandt’s The Night Watch
Nienke Woltman, Esther van Duijn, Anna Krekeler, Katrien Keune, Annelies van Loon, Suzan Meijer, Petria Noble, Laura Raven, Willem de Ridder, Susan Smelt, Ilse Steeman, Ige Verslype, Giulia Sara de Vivo, Lisette Vos and Sepha Wouda

Bridging the Channel: the dissemination of the Dutch wax-resin lining method to the UK in 1929 and 1930
Esther van Duijn, Michiel Franken and Mireille te Marvelde

Fragments and variations: an archival afterimage of early virtual reality art
Kira Alison Brown

 

Material practices, reconstructions and archival research

Technical art history, itineraries, networks and interdisciplinary collaboration: the curious history of the green ‘soup’ turtle
Erma Hermens and Paul J.C. van Laar

Purple with a purpose: investigating and reconstructing the discoloured skirt in the Portrait of Aletta Hanemans by Frans Hals
Fahed Ibrahim, Abbie Vandivere, Sabrina Meloni and Annelies van Loon

Layered interpretations: Van Gogh’s practice of reworking his Nuenen paintings
Muriel Geldof, Erika Smeenk-Metz, Kathrin Pilz, Luc Megens, Suzan de Groot, Inez van der Werf, Rika Pause, Christel van Hees, Klaas Jan van den Berg and Ella Hendriks

Discovering Edvard Munch’s hectographs: materials, characteristics and conservation
Signe Endresen and Emma Turgut

From research to display: Wyndham Lewis’s Praxitella and Helen Saunders’s lost Atlantic City 
Rebecca Chipkin and Helen Kohn 

Video calling Mark Manders: from artist interview to co-constructed audiovisual art technological source
Sanneke Stigter and My Bundgaard

Edward Kienholz: digging a deeper truth
Corina E. Rogge and Kari Dodson

Material changes

A new look at the 13th-century painted vault from Ål stave church: its nature, conservation history and future care
Kaja Kollandsrud and Linn K. Solheim

Colour changes in depicted foliage: investigation into the role of gypsum in the light ageing of yellow lake pigments
Charlotte Hoffmann and Ester S.B. Ferreira

A collaborative conservation and curatorial approach to wax sculpture
Alexandra Letvin and Nicole Passerotti 

Asger Jorn’s oil paint: visual, physical and chemical aspects of solid and soft paint
Ida Antonia Tank Bronken, Wim Genuit, Ineke Joosten and Klaas Jan van den Berg

On interdisciplinary research. Patina: traces of the past in contemporary art
Irene Glanzer and Angela Matyssek

Material changes in time-based media art: obsolescence and artistic intervention
Rea Grammatikopoulou and Tzu-Chuan Lin

 

Posters

Conservation or creation? Murals restored by Gerhard Gotaas
Susanne Kaun and Elisabeth Andersen

Varnished, overpainted and ennobled: the plaster cast collection of the National Museum in Norway
Katharina Kruck

Before de-restoring a painting: use of a combination of OCT with analytical methods to unveil a former restoration and enhance the history of conservation of 19th-century Paris
Diane Le Corre, Elsa Perruchini, Chloé Ranchoux and Gaël Latour 

The reuse of a medieval cope from Stavanger Cathedral, Norway
Hana Lukesova

The conservation and restoration of the relief Lamentation over the Dead Christ in painted stucco 
Joana Martins and Conceição Ribeiro

Dilemmas and decision-making during conservation and restoration of wall painting fragments from the church of St Nicholas in Palež, Serbia
Bojana Savić and Radomir Samardžić

Different contexts, common challenges: conservation of a distemper wall painting from 1690 by Henning S. Munch in Vågå church, Norway
Lena Porsmo Stoveland, Anne Apalnes Ørnhøi, Karen Mengshoel, Calin Constantin Steindal and Tine Frøysaker

Connecting the dots in the Coastal Memory Fort at UNESCO Geopark West Portugal: collaborative efforts in art history and conservation
Vanessa Antunes, Carla Tomás, Gunnar Liestøl, João Serra, Victor Ferreira and Marluci Menezes

The Vilhelm Hammershøi Digital Archive: an interdisciplinary research project on the materials and working methods of the Danish painter Vilhelm Hammershøi
Anne Haack Christensen, Pauline Lehmann Banke, Loa Ludvigsen, Troels Filtenborg, Gianluca Pastorelli, Annette S. Ortiz Miranda, Annette Rosenvold Hvidt and Jørgen Wadum 

Learning the golden ways: communicating gilt leather manufacture to a new audience
Vilde Dalåsen, Marie Kleivane and Brynhild Slaatto

The painter Hans Heyerdahl’s experiments with materials and techniques in their historical context
Hans-Martin Frydenberg Flaatten and Trond Erik Aslaksby

Drawing with ‘scales from a butterfly’s wings’: Belgian fin-de-siècle artists’ use of friable drawing techniques
Marie-Noëlle Grison

Artists’ acrylic varnishes applied over acrylic & PVA paint films 1966–1982
Laura Homer

Material practice in Morocco: Hilda Rix Nicholas’ paintings and drawings in Tangiers
Catherine Nunn

Thomas Fearnley (1802–42): material aspects in an art historical context
Tina Grette Poulsson

Reconstructing multimedia installations from uncertain sources: the case study of Blikk (1970 –2022)
Jøran Rudi, Randi Godø and Jina Chang

Inflatable structures and ‘new’ plastic material in the democratic design of De Pas D’Urbino Lomazzi studio: archival research for the conservation of the design object and its history
Ilaria Saccani, Grazia Cavanna, Davide Riggiardi, Maria Fratelli, Elisabetta Pernich, Mariella Brenna and Maria Teresa Feraboli

Giorgio Vasari’s Book of Drawings ​and an analysis of works attributed to Davide Ghirlandaio   
Helen Evans, Carina Fryklund, Cecilia Heisser, Tom Sandström and Karin Wretstrand  

‘The best preparation of smalt’? A lasting honey coating on smalt particles
Paul J.C. van Laar, Dominique M.E. Thies-Weesie, Thijs Hagendijk, Maartje Stols-Witlox and Gert Jan Vroege

Performing objects, objects to be performed: Fluxus legacy and the notion of activation
Aga Wielocha

A multi-analytical study on 20 synthetic ultramarine blue and cobalt blue oil paint samples from tubes belonging to Edvard Munch’s studio
Beatrice Giorgia Boracchi, Laura Falchi, Margherita Gnemmi, Irena Kralj Cigić, Špela Novak, Katharina Müller, Ljiljana Puskar, Terje Syversen, Irina Crina Anca Sandu and Francesca Caterina Izzo

From ghost image to lost image: how an overlooked phenomenon led to a key discovery
Maude Daudin-Schotte, Elyse Canosa, Tom Sandström and Kathrin Hinrichs-Degerblad

Connecting to colour slide film
Lénia Oliveira Fernandes, Élia Roldão and Sanneke Stigter

BioVanitas a matter of Time
Haizea Salazar-Basañez