List of dates in the history of conservation and restoration

Last updated October 15, 2023

This page details the historic development of Art conservation in Europe and the United States.

Important dates in the history of art conservation

Some key dates in the history of conservation in Europe and the United States include:

1565, Restoration of the Sistine Chapel frescoes began [53 years after the ceilings were painted].
1726, First attempt was made to restore Leonardo da Vinci's Last Supper by Michelangelo Bellotti.
1729, First recorded transfer had been carried out by Domenico Michelini in Venice for a Titian painting (Ulisse Forni, Manuale del pittore restauratore, 1866, p. 106). The profession of restoration becomes more visible in the following years. In the 18th century, painting restoration became a separate profession in France.
1735 to 1820, Restoration of paintings in the Spanish royal collections following a 1734 fire. Hundreds of important paintings were methodically treated in a specially constructed studio; materials used have been documented by Zahira Véliz. (Zahira Véliz "The Restoration of Paintings in the Spanish Royal Collections, 1734-1820," Studies in the History of Painting Restoration, ed. Christine Sitwell and Sarah Staniforth, Archetype Publications, 1998, pp. 43–62.)
1777, 1785, Pietro Edwards, Director of the Restoration of the Public Pictures of Venice and the Rialto, published on basic concepts of preventive conservation, original vices of painters’ materials, respect for the artist's original intent, and reversibility.
1794, Charles Willson Peale recorded in his memo book using wax to impregnate paintings. By the middle of the 19th century, paintings were being wax lined; Rembrandt's Night Watch was wax-lined in 1851. [Note precedent above with glue; first there was impregnation with an adhesive and some years later, lining. Analogous to the 20th-century use of PVA/EVA etc.]
1809, Count Chaptal of Napoleon's court filed a report regarding pigments used in Pompeii. [Technical analysis of artists’ materials appears and increases in the 19th century.]
1815, Pigment studies by Sir Humphry Davy (he had a small portable chemical laboratory and traveled around Europe, accompanied by Michael Faraday 1813–1815)
1850, First U.S. Art Restoration Company was formed in New York City – Oliver Brothers Smithsonian Institution, James Oliver account books^[1]
1851, Rembrandt's Night Watch is relined with a wax adhesive.
1852, The cleaning by John Seguier of nine major pictures in the National Gallery, London led to a fierce public outcry and demand for an inquiry. Cleaning controversies followed in London, Paris, Munich, (in the US by 1978, and about the Sistine Chapel by 1985). (Cleaning controversies had also erupted re. policies at the Louvre in 1793.)
1850-1853, Michael Faraday carried out analytical and deterioration studies for the National Gallery, London, investigated varnishes, cleaning methods and the impact of London fog, coal smoke, and gas lighting on the discoloration of surface coatings. His findings were generally ignored.
1860s, Oliver Brothers Fine Art Restoration and Conservation has expanded and opened a location in Boston.
1863, Max Pettenkofer of Munich patented a method to “reverse the aging of varnish” through exposure to ethanol vapors; this method was later found to increase the interactive zone between paintings and varnish, complicating future cleanings [Ref. Sibylle Schmitt, IIC 1990].
1870s, Louis Pasteur carried out analytical studies of paint and optical crystallography for over a decade.
1888, Friedrich Rathgen became chemist in charge of the Royal Museums of Berlin (Staatliche Museen), first museum laboratory
1896, Wilhelm Röntgen discovered x-rays in 1895 and x-rayed a painting the next year. He called them “X-rays”, using the mathematical designation for something unknown.
1920, British Museum Research Laboratory established under the direction of Alexander Scott as a direct response to the poor state of the museum's collections.
1920s, George T. Oliver of Oliver Brothers Fine Art Restoration, Boston^[2] has invented world's first vacuum table for re-lining paintings. The patent^[3] was filed in 1937.^[4]
1928, Fogg Art Museum’s Technical Department established by the museum’s Director, Edward W. Forbes; this was the first research laboratory in an American museum. His allies for technical studies of paintings were Daniel V. Thompson and Alan Burroughs. George L. Stout became Head Conservator and Rutherford John Gettens, the department’s chemist.^[5]
1928, Questionnaire initiated by the German museum council in 1928 on how much to clean, how much to inpaint [Berlin was a leading international art center at this time]. German activities at an international level ended when the National Socialists assumed power in 1933; art experts who emigrated (e.g. Max J. Friedländer, Ernst Gombrich, Julius S. Held, Johannes Hell, Helmut Ruhemann, William Suhr, etc.) influenced attitudes in U.K. and U.S.
1930, The first “International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art” held in Rome, 13–17, October. Impact on: the founding of IIC, ICOM-CC, many training programs, ethics, standards of practice, documentation, preventive conservation, etc.
1930, Museum of Fine Arts, Boston, laboratory established.
1930, The first International “Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art,” Rome. This group decided to edit a “Manual on the Conservation of Paintings” first published in French in 1939, a remarkable international collaborative effort. Re-issued by Archetype, 1997, copyright ICOM.
1931, Louvre Museum Laboratory established.
1931, James J. Rorimer of the Metropolitan Museum published Ultra-violet Rays and Their Use in the Examination of Works of Art.
1931, Athens Charter is adopted
1931, Conservation department established at the Walters Art Gallery [now “Museum”] under David Rosen, and chemist Arthur Kopp established a laboratory at the Metropolitan Museum of Art
1932-1942, Publication of Technical Studies in the Field of the Fine Arts, published for the Fogg Museum of Art, first technical journal.
1932, First edition of the Carta del Restauro (Restoration Charter) prepared, based on the Athens Charter of 1931.
1934, Conservation training program began at the Courtauld Institute in London.
1934, First translated publication of Max Doerner's The Materials of the Artist and their Use in Paintings. Professor Doerner (1870–1939) was instructor/professor in technical methods at the Royal Bavarian Academy in Munich 1911–1939.
1936, Conservation training program began at the Akademie der Bildenden Künste in Vienna.
1937, Founding of the State Institute for Technical Tests and Research in the Field of Painting, called the “Doerner Institute.” This Institute also began a training program the next year.^[6]
1938, Alan Burroughs of the Fogg Art Museum published Art Criticism from a Laboratory, based on his research x-radiographing Old Master paintings.
1939, The Istituto Superiore per la Conservazione ed il Restauro (formerly the Istituto Centrale per il Restauro), the Italian body responsible for restoration/conservation rules, is formed in Rome.
1940, Manual on the Conservation of Paintings (from the 1930 Rome Conference) published in French in 1939 and in English in 1940. Compiled by 12 international experts: five art historians, five restorers, and two chemists.
1943, Conservation training program at the Istituto Centrale in Rome ^[7]
1946, The International Council of Museums was organized at a meeting held in November at the Louvre. A non-governmental organization composed of National Committees in the various member nations with the purpose of furthering international cooperation among museums. The Committee for Conservation (now known as ICOM-CC) began in 1967. Triennial meetings began in 1969.^[8]
1947, Trial of Han van Meegeren, convicted of forging paintings by Vermeer. The discussions among Paul Coremans, Harold Plenderleith, and F. I. G. Rawlins in connection with this trial were credited by Hero Boothroyd Brooks as important to the establishment of the International Institute for Conservation.
1947, Exhibition of cleaned paintings at the National Gallery, London. Controversy and inquiry resulted in the Weaver Report, 1948. (Committee: Paul Coremans, George L. Stout, J. R. H. Weaver, President of Trinity College, Oxford.)
1948, Institute Royale du Patrimoine Artistique founded, Brussels; dedicated to the study and conservation of the artistic and cultural heritage of the country. As a federal scientific institution, the institute's primary mission is research and public service.^[9]
1948, Use of hot table reported, Stephen Rees Jones, Courtauld Institute.
1948, The Institut Royal du Patrimoine Artistique|Koninklijk Instituut voor het Kunstpatrimonium (IRPA-KIK) is founded in Brussels, Paul Coremans, Director
1948, The “Brussels Preparatory Meeting” is held to plan the founding of the International Institute for Conservation.
1949, Conservation training program at the Institut für Technologie der Malerei in Stuttgart.
1950, IIC, the International Institute for Conservation, originally known as the “International Institute for the Conservation of Museum Objects,” was incorporated on 27 April 1950. A short history of IIC by Hero Boothroyd Brooks was published on the occasion of its 50th anniversary in 2000.^[10] Now 2389 members. [308 Fellows, 1533 individuals, 160 students, 388 institutions July 2007]
1950, Establishment of the Faculty of Conservation of Monuments (since 1992 - Faculty of Conservation and Restoration of Works of Art) at the Academy of Fine Arts in Krakow
1952, First issue of Studies in Conservation, from the International Institute for Conservation.
1952, First regional center in the US opened, the Oberlin Intermuseum Conservation Association, now located in Cleveland.^[11]
1955, First issue of IIC Abstracts by the International Institute for Conservation. This became Art and Archaeology Technical Abstracts in 1966 when it was published from the NYU, Institute of Fine Arts, Conservation Center, (JHS was Managing Editor from 1969 to 1986). The administration of AATA moved from the NYU Conservation Center to the Getty Conservation Institute in 1985 and the publication went entirely online in 2003^[12]
1955, Introduction of vacuum pressure for the hot table, R. E. Straub, S. Rees Jones, Studies in Conservation, Vol. II.
1957, Establishment of a laboratory of biology applied to the art conservation at the Istituto Centrale in Rome. Microbiologist Clelia Giacobini was Director from 1964 to 1995.
1959, The Rome Centre for the Study of the Preservation and Restoration of Cultural Property began operation. Harold Plenderleith, Director. (Known as ICCROM since 1978).^[13] Now has 129 member states. Publications, guidelines, an extensive conservation library and international training programs.
1960, The heated vacuum re-lining table for painting restoration developed by Jack Willard in the UK.^[14]
1960, First regular meeting of the IIC-American Group, Isabella Stewart Gardner Museum. Now known as the American Institute for Conservation with more than 3300 members (as of 06).^[15]
1960, First four students began graduate training in conservation at the Conservation Center, Institute of Fine Arts, New York University (First graduate art conservation training program in the U.S.)^[16] Four-year program, moved across the street to 14 East 78th Street, NYC in 1983.
1963, Establishment of the Conservation Analytical Laboratory at the Smithsonian Institution. Moved in 1983 to the Museum Support Center in Suitland, Maryland. In 1998, renamed SCMRE, the Smithsonian Center for Materials Research and Education. In 2006, renamed MCI, Museum Conservation Institute.^[17]
1963, Teoria del Restauro by Cesare Brandi first published.
1964, The Venice Charter was approved.
1965, The International Council on Monuments and Sites (ICOMOS) is founded
1965, National Endowment for the Arts founded. The Museum Program began in 1971 and awarded about $11 million to help start Regional Conservation Centers under John Spencer.
1966 November, Florence Flood; brought international awareness to issues of art conservation. The gathering of international conservation professionals together over the next several years stimulated collaboration and the founding of a number of European conservation training programs.
1967, The beginning of the ICOM-Committee for Conservation, first triennial meeting held in 1969.
1968, Publication of the first code of ethics and standards of practice for conservation internationally (“The Murray Pease Report”) by the IIC-American Group
1969, Publication of America's Museums: The Belmont Report, AAM; the need for conservation of collections recognized, government support for conservation considered indispensable. Additional reports have followed from the IIC-AG in 1975, National Institute for Conservation, now known as Heritage Preservation, etc.
1969, First painting lined with BEVA 371 (by Gustav Berger). Gerry Hedley later reported the results of a survey in the mid-1980s that BEVA became the most popular lining adhesive internationally.
1970, First students began training in the three-year graduate program in conservation, Cooperstown Graduate Program, Cooperstown. NY; takes ten students a year, three-year program, moved to Buffalo State College in 1987.^[18]
1970s, There were three other full-time, three-year conservation training programs, at the Fogg Art Museum, the Oberlin Intermuseum Conservation Association in Ohio, and the Canadian Conservation Institute in Ottawa; all three ceased providing three-year programs by the end of the decade, but all continue to accept advanced interns.
1972, New version of the Carta del Restauro (Restoration Charter) published.
1973, IIC-AG changed to the AIC and began the Foundation of the American Institute for Conservation, its non-profit 501(c)(3) sister organization, and the Journal of the American Institute for Conservation.^[15]
1973, The National Conservation Advisory Council was organized in 1973, funded by the National Museum Act of the Smithsonian Institution. The NCAC surveyed national needs and became the National Institute for the Conservation of Cultural Property in 1982, and changed its name again to Heritage Preservation in 1997. Ca. 150 institutional members as of 2004–06.^[19]
1973, Andrew Oddy, the main conservator at the British Museum, proposed a test to determine the safety of materials to art objects, now called the Oddy test.
1974, First students began training in the three-year graduate program in conservation sponsored jointly by the University of Delaware and Winterthur Museu^[20]
1974, First students began training in the two-year graduate program in conservation at Queen's University, Kingston, Ontario, Canada^[21]
1974, Rutherford John Gettens died a week after making a presentation about the need for a conservation history project. FAIC oral history project launched in 1975. Over 239 transcribed interviews now available to researchers housed in the Winterthur Museum archives.
1974, 1975, 1976, “Moratoria” on lining declared at conferences at Greenwich, UK; Venice (ICOM-CC 1975), and Ottawa (sponsored by the National Gallery, Canada). Lining practices were reexamined and the regular lining of paintings as a preventive measure by practicing professional conservators decreased steadily. (NOTE: this occurred ca. two decades after the introduction of vacuum lining. A philosophy of “minimal intervention” gained increasing numbers of supporters in all specialties over the next three decades.
1976, Research Center on the Materials of the Artist and Conservator at Carnegie Mellon University established, Dr. Robert L. Feller, Director. Now “Art Conservation Research Center”^[22]
1978, ICOM-CC created the first working paper on the draft definition of the conservator-restorer.
1980, The Midwest Regional Conservation Guild is formed and holds its first Annual Meeting at the Indianapolis Museum of Art in the Spring of 1981.
1981, The Conservation Education Program at Columbia University accepted students for training in library and archives conservation. This Program moved to the University of Texas in 1992.^[23]
1982, Major branches of the J. Paul Getty Trust were first defined.
1982, Interdisciplinary publications reflecting George L. Stout's concept of the “three-legged stool,” co-authored by conservators, art historians, and scientists appear and increase in number: Art and Autoradiography (Metropolitan Museum, 1982); Examining Velasquez (Gridley McKim-Smith, Greta Andersen-Bergdoll, and Richard Newman, 1988).
1982, CAL, the “Conservation Analytical Laboratory” of the Smithsonian Institution, moved to Silver Hill, Maryland. A three-year program for furniture conservation was sponsored there for a limited period of time; a new class was accepted only every three years, and classes were scheduled so that professional furniture conservators could participate in segments but keep their practices. Later the name was changed to SCMRE and in 2005 to “MCI,” Museum Conservation Institute.
1984, First meeting of the Association of Graduate Training Programs in Conservation, in conjunction with the annual student conference, Harvard University faculty club; now known as ANAGPIC, Association of North American Graduate Programs in Conservation.
1984-1985, New methods of cleaning introduced by Professor Richard Wolbers, University of Delaware, including enzymes, resin soaps, and gels.
1985, Getty Conservation Institute began operations in Marina del Rey, CA; in 1997 moved to the Getty Center in Brentwood.^[24]
1990, First students accepted in the Ph.D. Program in Art Conservation Research; six students graduated by 2003 at the University of Delaware. This program was not granted permanent status. A new Ph.D. program in Preservation Studies at the UD accepted its first students in 2006.
1990, NAGPRA, Native American Graves Protection and Repatriation Act.
1990 The CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation was initiated for an outstanding contribution by one or more persons who, individual or jointly, have enhanced understanding of art through the application of knowledge and experience in conservation, art history, and art. Winners of this award include Robert L. Feller (92), Molly Ann Fairies (95), W. Thomas Chase, (98), Harry Cooper and Ron Spronk (02), Andrea Kirsh and Rustin S. Levenson (03), Carol Mancusi-Ungaro (04), Paolo Cherchi Usai (film preservation) (05); Don Kalec and Jim Thorpe (architectural conservation) (06).
1991, E.C.C.O. (European Confederation of Conservator-Restorers' Organisations) was created. The ECCO code of ethics was adopted in 1993.
1995, National Endowment for the Arts ceased funding training in art conservation.
1997, RAP, Regional Alliance for Preservation (RAP) began in February 1997 as a pilot project of the Commission on Preservation and Access (Washington, DC) to foster cooperation among the Preservation Field Service programs funded by the NEH. When pilot-project funding ended in February 1998, participants decided to continue RAP as a cooperative program; the alliance expanded to include members of the Association of Regional Conservation Centers (ARCC).^[25] There are now 13 members.
1999, The International Network for the Conservation of Contemporary Art (INCCA) was established, and by 2008 the network included 150 partner institutions, the majority located in Europe and the United States. Members of INCCA use www.incca.org as their communication platform.
2000, New funding for conservation science positions in graduate training programs and major museum conservation laboratories, initiated by Angelica Rudenstine and the Andrew W. Mellon Foundation.
2005, The graduate training program in archaeological conservation sponsored jointly by UCLA and the Getty Conservation Institute accepted its first class of students.^[26]
2006, The new Preservation Studies Doctoral Program at the University of Delaware accepted its first three students.
2006, The launch of AMIEN,^[27] Art Materials Information and Education Network, jointly sponsored by Mark Gottsegen and The ICA, Cleveland (joining INCCA, the International Network for the Conservation of Contemporary Art,^[28] as a resource on the conservation of contemporary art).

Related Research Articles

The conservation and restoration of cultural property focuses on protection and care of cultural property, including artworks, architecture, archaeology, and museum collections. Conservation activities include preventive conservation, examination, documentation, research, treatment, and education. This field is closely allied with conservation science, curators and registrars.

A conservator-restorer is a professional responsible for the preservation of artistic and cultural artifacts, also known as cultural heritage. Conservators possess the expertise to preserve cultural heritage in a way that retains the integrity of the object, building or site, including its historical significance, context and aesthetic or visual aspects. This kind of preservation is done by analyzing and assessing the condition of cultural property, understanding processes and evidence of deterioration, planning collections care or site management strategies that prevent damage, carrying out conservation treatments, and conducting research. A conservator's job is to ensure that the objects in a museum's collection are kept in the best possible condition, as well as to serve the museum's mission to bring art before the public.

The International Institute for Conservation of Historic and Artistic Works (IIC) is a global organisation for conservation and restoration professionals with over two thousand members in over fifty countries. IIC seeks to promote the knowledge, methods and working standards needed to protect and preserve historic and artistic works throughout the world.

The Getty Conservation Institute (GCI), located in Los Angeles, California, is a program of the J. Paul Getty Trust. It is headquartered at the Getty Center but also has facilities at the Getty Villa, and commenced operation in 1985. The GCI is a private international research institution dedicated to advancing conservation practice through the creation and delivery of knowledge. It "serves the conservation community through scientific research, education and training, model field projects, and the dissemination of the results of both its own work and the work of others in the field" and "adheres to the principles that guide the work of the Getty Trust: service, philanthropy, teaching, and access." GCI has activities in both art conservation and architectural conservation.

Conservation and restoration of metals is the activity devoted to the protection and preservation of historical and archaeological objects made partly or entirely of metal. In it are included all activities aimed at preventing or slowing deterioration of items, as well as improving accessibility and readability of the objects of cultural heritage. Despite the fact that metals are generally considered as relatively permanent and stable materials, in contact with the environment they deteriorate gradually, some faster and some much slower. This applies especially to archaeological finds.

A conservation technician is a specialist in conservation methods pertaining to cultural property, and who may work in museums or public or private conservation organizations. A technician may also work in conjunction with other collection staff, such as a registrar (museum) or collection manager.

Since 1974, the conservation graduate programs have held an annual meeting at one of the member programs in order to give current students the opportunity to present current research to their peers.

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 Washington Conservation Guild (WCG) is a non-profit organization of conservation and cultural heritage professionals. The WCG serves as a resource for learning about the care of cultural heritage collections.

An Objects conservator is a professional, working in a museum setting or private practice, that specializes in the conservation of three-dimensional works. They undergo specialized education, training, and experience that allows them to formulate and implement preventive strategies and invasive treatment protocols to preserve cultural property for the future. Objects conservators typically specialize in one type of material or class of cultural property, including metals, archaeological artifacts, ethnographic artifacts, glass, and ceramic art. Objects conservation presents many challenges due to their three-dimensional form and composite nature.

A conservation scientist is a museum professional who works in the field of conservation science and whose focus is on the research of cultural heritage through scientific inquiry. Conservation scientists conduct applied scientific research and techniques to determine the material, chemical, and technical aspects of cultural heritage. The technical information conservation scientists gather is then used by conservator and curators to decide the most suitable conservation treatments for the examined object and/or adds to our knowledge about the object by providing answers about the material composition, fabrication, authenticity, and previous restoration treatments.

A photograph conservator is a professional who examines, documents, researches, and treats photographs, including documenting the structure and condition of art works through written and photographic records, monitoring conditions of works in storage and exhibition and transit environments. This person also performs all aspects of the treatment of photographs and related artworks with adherence to the professional Code of Ethics.

The conservation and restoration of Tibetan thangkas is the physical preservation of the traditional religious Tibetan painting form known as a thangka. When applied to thangkas of significant cultural heritage, this activity is generally undertaken by a conservator-restorer.

A textile conservator is a conservator-restorer charged with the care, treatment, research, and preservation of textiles. Issues addressed by a textile conservator are generally related to the field of textile preservation, and include damage caused to textiles by: light, mold and mildew, insects, cleaning, surface cleaning, washing, mounting for display, and storage. Variations in textile types and "the diversity of the textile conservator's work makes it a very rewarding profession". Textiles are among the most fragile artifacts, as they are susceptible to damage from atmospheric pollutants, moisture, biological organisms, and environmental changes and care varies with size, shape, material, and condition issues, all of which a textile conservator must be well versed.

Edward Waldo Forbes (1873-1969) was an American art historian. He was the Director of the Fogg Art Museum at Harvard University from 1909 to 1944.

Conservation and restoration at the Smithsonian Institution deals with the care of the 138 million artifacts located in the collections of Smithsonian Institution. Work is conducted by one research center, the Museum Conservation Institute (MCI), and by conservators at the Smithsonian's museums, galleries, zoo. Smithsonian conservators provide myriad services to their units, including exhibit preparation of the museum collection and loan objects, advising on object care, training for future generations of conservationists, engaging in routine preventive care on a daily basis, conducting research projects related to the collections, and examining objects for evidence of manufacturing techniques and previous restorations All conservation labs collectively further the mission of the Smithsonian Institution, "the increase and diffusion of knowledge." Founded in 1846 the Smithsonian is the world's largest museum and research complex, consisting of 19 museums and galleries, the National Zoological Park, and nine research facilities.

The conservation and restoration of ancient Greek pottery is a sub-section of the broader topic of conservation and restoration of ceramic objects. Ancient Greek pottery is one of the most commonly found types of artifacts from the ancient Greek world. The information learned from vase paintings forms the foundation of modern knowledge of ancient Greek art and culture. Most ancient Greek pottery is terracotta, a type of earthenware ceramic, dating from the 11th century BCE through the 1st century CE. The objects are usually excavated from archaeological sites in broken pieces, or shards, and then reassembled. Some have been discovered intact in tombs. Professional conservator-restorers, often in collaboration with curators and conservation scientists, undertake the conservation-restoration of ancient Greek pottery.

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 Modern and Contemporary Art Research Initiative is a program started by the Getty Conservation Institute (GCI). It began in 2007 in response to the variety of new materials and technologies being used by contemporary artists in their work, and the lack of known conservation treatments for these new materials. This area was seen as a gap in the field of conservation, but also posed unique challenges when considering the intention of the artist and the physical aging that his or her materials might endure. According to Thomas F. Reese, "Conservators...must enter into the critical spirit of the works themselves if they are to save and transmit not merely decontextualized fragments but their essence to the future."

The Australian Institute for the Conservation of Cultural Materials (AICCM) is Australia's national membership organisation for conservation professionals. Its members are mainly professional conservators, conservation students and cultural heritage member organisations in the Australian and Pacific region. It provides services for members and resources for the public and associated cultural heritage organisations and liaises with other professional associations including the Australian Library and Information Association (ALIA), the Australian Society of Archivists and Australian Museums and Galleries Association.

References

↑ Archives of American Art. "Summary of the James Oliver account books, 1865-1890 - Archives of American Art, Smithsonian Institution". si.edu.
↑ "Art Restoration and Conservation - Oliver Brothers". Oliver Brothers Fine Art Restoration.
↑ "United States Patent: 2073802".
↑ U.S. Patent# 2,073,802 "Art of Oil Painting Restoration" March 16, 1937
↑ Archived May 9, 2008, at the Wayback Machine
↑ "Alte Pinakothek [Museum - Doerner-Institut]". Archived from the original on 2008-09-26. Retrieved 2008-08-06.
↑ "Istituto Centrale per il Restauro". www.icr.beniculturali.it. Archived from the original on 2003-05-05.
↑ "International Council of Museums - ICOM-CC". icom-cc.org.
↑ "KIK-IRPA, Brussels, Belgium - Homepage". www.kikirpa.be. Archived from the original on 2007-09-05.
↑ "International Institute for Conservation of Historic and Artistic Works". iiconservation.org.
↑ "ICA Art Conservation - The oldest not-for-profit regional conservation center in the US". ica-artconservation.org.
↑ "Archived copy". Archived from the original on 2012-02-11. Retrieved 2008-08-06.{{cite web}}: CS1 maint: archived copy as title (link)
↑ "ICCROM". iccrom.org.
↑ History of Jack Willard, developed suction tables for art conservation
1 2 "American Institute for Conservation of Historic and Artistic Works". stanford.edu.
↑ "Institute of Fine Arts - New York University". nyu.edu.
↑ "Museum Conservation Institute Home Page". si.edu.
↑ "Art Conservation Department Home Page". Archived from the original on 2007-04-27. Retrieved 2007-05-11.
↑ "Heritage Preservation: Ensuring the preservation of America's cultural heritage". heritagepreservation.org.
↑ "Art Conservation at the University of Delaware : Home". udel.edu.
↑ "Queen's University - Department of Art". Archived from the original on 2007-03-31. Retrieved 2007-05-11.
↑ "Artists' Material Center". Archived from the original on 2008-07-19. Retrieved 2008-08-06.
↑ "UT School of Information - Former PCS". Archived from the original on 2008-07-04. Retrieved 2008-08-06.
↑ "About the Conservation Institute". getty.edu.
↑ "RAP". rap-arcc.org.
↑ "UCLA/Getty Program in Archaeological and Ethnographic Conservation". getty.edu.
↑ "Amien.org".
↑ "INCCA". incca.org.

External sources for dates in the history of art conservation

Bewer, Francesca G. A Laboratory for Art: Harvard's Fogg Museum and the Emergence of Conservation in America, 1900-1950 (Cambridge, MA: Harvard Art Museum, 2010).
Stoner, J.H. (2005). Changing Approaches in Art Conservation: 1925 to the Present. In: Scientific Examination of Art: Modern Techniques in Conservation and Analysis, Arthur M. Sackler Colloquia, March 19–21, 2003, The National Academies Press, Washington, DC.
Stoner, J.H. (2000). "Are There Great Women Art Conservators". International Institute for Conservation Bulletin, No. 1,February, 3–7.
Stoner, J.H. (1998). “Documenting Ourselves: the history of 20th-century art conservation”.IIC Bulletin, 1998, No. 2, April, pp. 1–4.
Stoner, J.H. (1977). "An Oral History Archive," Museum News, 55, no. 6, July/Aug.

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[1] Archives of American Art. "Summary of the James Oliver account books, 1865-1890 - Archives of American Art, Smithsonian Institution". si.edu.

[2] "Art Restoration and Conservation - Oliver Brothers". Oliver Brothers Fine Art Restoration.

[3] "United States Patent: 2073802".

[4] U.S. Patent# 2,073,802 "Art of Oil Painting Restoration" March 16, 1937

[5] Archived May 9, 2008, at the Wayback Machine

[6] "Alte Pinakothek [Museum - Doerner-Institut]". Archived from the original on 2008-09-26. Retrieved 2008-08-06.

[7] "Istituto Centrale per il Restauro". www.icr.beniculturali.it. Archived from the original on 2003-05-05.

[8] "International Council of Museums - ICOM-CC". icom-cc.org.

[9] "KIK-IRPA, Brussels, Belgium - Homepage". www.kikirpa.be. Archived from the original on 2007-09-05.

[10] "International Institute for Conservation of Historic and Artistic Works". iiconservation.org.

[11] "ICA Art Conservation - The oldest not-for-profit regional conservation center in the US". ica-artconservation.org.

[12] "Archived copy". Archived from the original on 2012-02-11. Retrieved 2008-08-06.{{cite web}}: CS1 maint: archived copy as title (link)

[13] "ICCROM". iccrom.org.

[14] History of Jack Willard, developed suction tables for art conservation

[stanford.edu-15] 1 2 "American Institute for Conservation of Historic and Artistic Works". stanford.edu.

[16] "Institute of Fine Arts - New York University". nyu.edu.

[17] "Museum Conservation Institute Home Page". si.edu.

[18] "Art Conservation Department Home Page". Archived from the original on 2007-04-27. Retrieved 2007-05-11.

[19] "Heritage Preservation: Ensuring the preservation of America's cultural heritage". heritagepreservation.org.

[20] "Art Conservation at the University of Delaware : Home". udel.edu.

[21] "Queen's University - Department of Art". Archived from the original on 2007-03-31. Retrieved 2007-05-11.

[22] "Artists' Material Center". Archived from the original on 2008-07-19. Retrieved 2008-08-06.

[23] "UT School of Information - Former PCS". Archived from the original on 2008-07-04. Retrieved 2008-08-06.

[24] "About the Conservation Institute". getty.edu.

[25] "RAP". rap-arcc.org.

[26] "UCLA/Getty Program in Archaeological and Ethnographic Conservation". getty.edu.

[27] "Amien.org".

[28] "INCCA". incca.org.

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List of dates in the history of conservation and restoration

Contents

Important dates in the history of art conservation

Related Research Articles

References

External sources for dates in the history of art conservation