Related Research Articles
Paint is a material or mixture that, when applied to a solid material and allowed to dry, adds a film-like layer. As art, this is used to create an image or images known as a painting. Paint can be made in many colors and types. Most paints are either oil-based or water-based, and each has distinct characteristics.
Varnish is a clear transparent hard protective coating or film. It is not to be confused with wood stain. It usually has a yellowish shade due to the manufacturing process and materials used, but it may also be pigmented as desired. It is sold commercially in various shades.
Neatsfoot oil is a yellow oil rendered and purified from the shin bones and feet of cattle. "Neat" in the oil's name comes from an Old English word for cattle. Neatsfoot oil is used as a conditioning, softening and preservative agent for leather. In the 18th century, it was also used medicinally as a topical application for dry scaly skin conditions.
Rubber cement is an adhesive made from elastic polymers mixed in a solvent such as acetone, hexane, heptane or toluene to keep it fluid enough to be used. This makes it part of the class of drying adhesives: as the solvents quickly evaporate, the rubber solidifies, forming a strong yet flexible bond.
Renaissance Wax is a brand of microcrystalline wax polish used in antique restoration and museum conservation around the world. Commonly used to polish and conserve metal objects, it is also used on gemstones and such organic materials as wood, ivory, and tortoiseshell. The product is sometimes used by reenactors to protect armor and weapons. Waxes are more protective and longer-lasting than oil, especially for swords and helmets that are frequently touched by human hands. It has recently been introduced in the world of guitar building, as a finish that protects and gives colour to the wood.
The conservation and restoration of parchment constitutes the care and treatment of parchment materials which have cultural and historical significance. Typically undertaken by professional book and document conservators, this process can include preventive measures which protect against future deterioration as well as specific treatments to alleviate changes already caused by agents of deterioration.
Conservation and restoration of movable cultural property is a term used to denote the conservation of movable cultural property items in libraries, archives, museums and private collections. Conservation encompasses all the actions taken toward the long-term preservation of cultural heritage. Activities include examination, documentation, treatment, and preventive care, which is supported by research and education. Object conservation is specifically the actions taken to preserve and restore cultural objects. The objects span a wide range of materials from a variety of cultures, time periods, and functions. Object conservation can be applied to both art objects and artifacts. Conservation practice aims to prevent damage from occurring, a process known as 'preventive conservation'. The purpose of preventive conservation is to maintain, and where possible enhance, the condition of an object, as well as managing deterioration risks, such as handling and environmental conditions. Historically, object conservation was focused on the category of fine arts but now many different types of objects are conserved. Each type of object material, typically denoted by organic or inorganic then the specific medium, requires a specialized professional conservator and often requires collaborative work between museum staff, scientists, and conservators.
The conservation and restoration of books, manuscripts, documents, and ephemera is an activity dedicated to extending the life of items of historical and personal value made primarily from paper, parchment, and leather. When applied to cultural heritage, conservation activities are generally undertaken by a conservator. The primary goal of conservation is to extend the lifespan of the object as well as maintaining its integrity by keeping all additions reversible. Conservation of books and paper involves techniques of bookbinding, restoration, paper chemistry, and other material technologies including preservation and archival techniques.
The conservation and restoration of shipwreck artifacts is the process of caring for cultural heritage that has been part of a shipwreck. Oftentimes these cultural artifacts have been underwater for a great length of time. Without conservation, most artifacts would perish and important historical data would be lost. In archaeological terms, it is usually the responsibility of an archaeologist and conservator to ensure that material recovered from a shipwreck is properly cared for. The conservation phase is often time-consuming and expensive, which is one of the most important considerations when planning and implementing any action involving the recovery of artifacts from a shipwreck.
The conservation and restoration of wooden furniture is an activity dedicated to the preservation and protection of wooden furniture objects of historical and personal value. When applied to cultural heritage this activity is generally undertaken by a conservator-restorer. Furniture conservation and restoration can be divided into two general areas: structure and finish. Structure generally relates to wood and can be divided into solid, joined, and veneered wood. The finish of furniture can be painted or transparent.
The conservation and restoration of painting frames is the process through which picture frames are preserved. Frame conservation and restoration includes general cleaning of the frame, as well as in depth processes such as replacing damaged ornamentation, gilding, and toning.
The conservation and restoration of leather objects is the process of determining the causes of deterioration, followed by deciding the best course of action for preserving the leather objects for the future.
The conservation and restoration of lacquerware prevents and mitigates deterioration or damage to objects made with lacquer. The two main types of lacquer are Asian, made with sap from the Urushi tree, and European, made with a variety of shellac and natural resins. Lacquer can be damaged by age, light, water, temperature, or damaged substrate.
The conservation and restoration of fur objects is the preservation and protection of objects made from or containing fur. These pieces can include personal items like fur clothing or objects of cultural heritage that are housed in museums and collections. When dealing with the latter, a conservator-restorer often handles their care, whereas, for the public, professional furriers can be found in many neighborhoods.
Conservation-restoration of bone, horn, and antler objects involves the processes by which the deterioration of objects either containing or made from bone, horn, and antler is contained and prevented. Their use has been documented throughout history in many societal groups as these materials are durable, plentiful, versatile, and naturally occurring/replenishing.
The conservation and restoration of paintings is carried out by professional painting conservators. Paintings cover a wide range of various mediums, materials, and their supports. Painting types include fine art to decorative and functional objects spanning from acrylics, frescoes, and oil paint on various surfaces, egg tempera on panels and canvas, lacquer painting, water color and more. Knowing the materials of any given painting and its support allows for the proper restoration and conservation practices. All components of a painting will react to its environment differently, and impact the artwork as a whole. These material components along with collections care will determine the longevity of a painting. The first steps to conservation and restoration is preventive conservation followed by active restoration with the artist's intent in mind.
The conservation and restoration of woodblock prints, is the process of caring for and repairing images made from a specific printing process involving using wooden reliefs to stamp or imprint an image onto paper. The process of creating woodblock prints as Asian examples are known, or woodcuts as Western examples are called, has been known for many centuries, and many older prints have experienced aging and deterioration of the paper and colorants used.
The conservation of taxidermy is the ongoing maintenance and preservation of zoological specimens that have been mounted or stuffed for display and study. Taxidermy specimens contain a variety of organic materials, such as fur, bone, feathers, skin, and wood, as well as inorganic materials, such as burlap, glass, and foam. Due to their composite nature, taxidermy specimens require special care and conservation treatments for the different materials.
The conservation-restoration of panel paintings involves preventive and treatment measures taken by paintings conservators to slow deterioration, preserve, and repair damage. Panel paintings consist of a wood support, a ground, and an image layer. They are typically constructed of two or more panels joined together by crossbeam braces which can separate due to age and material instability caused by fluctuations in relative humidity and temperature. These factors compromise structural integrity and can lead to warping and paint flaking. Because wood is particularly susceptible to pest damage, an IPM plan and regulation of the conditions in storage and display are essential. Past treatments that have fallen out of favor because they can cause permanent damage include transfer of the painting onto a new support, planing, and heavy cradling. Today's conservators often have to remediate damage from previous restoration efforts. Modern conservation-restoration techniques favor minimal intervention that accommodates wood's natural tendency to react to environmental changes. Treatments may include applying flexible battens to minimize deformation or simply leaving distortions alone, instead focusing on preventive care to preserve the artwork in its original state.
The conservation and restoration of waterlogged wood is the process undertaken by conservator-restorers of caring for and maintaining waterlogged wooden artefacts to preserve their form, and the information they contain. It covers the processes that can be taken by conservators, archaeologists, and other museum professionals to conserve waterlogged wood. This practice includes understanding the composition and agents of deterioration of waterlogged wood, as well as the preventive conservation and interventive conservation measures that can be taken.
References
- ↑ (Plenderleith, 1946)
- ↑ Plenderleith, H.; Werner, A. (1971). The conservation of antiquities and works of art (2nd ed.). London: Oxford University Press.
- 1 2 "Caring for Cultural Material - Leather". reCollections - Heritage Collections Council of Australia. Archived from the original on 6 April 2007. Retrieved 27 April 2007.
- 1 2 3 Hamilton, Donny, L. (1 January 1999). "Methods of Conserving Archaeological Material from Underwater Sites" (PDF). Department of Anthropology, Texas A&M University. Retrieved 15 October 2024.
{{cite web}}: CS1 maint: multiple names: authors list (link) - ↑ "Concise survey of conservation treatments". Koninklijke Bibliotheek - National library of the Netherlands. Retrieved 27 April 2007.