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The Invention of Scientific Conservation
Expert Cultures of Conservation after the Second World War
Series: - Nuncius Series, Volume: 15
The book addresses the question of how experts from a variety of educational backgrounds and with different professional identities created scientific conservation. How did they make science the type of knowledge carrying most authority in questions of conservation? From the ruins of the Second World War, international organisations (e.g. IIC), journals (e.g. Studies in Conservation), and institutes (e.g. the KIK-IRPA in Brussels) emerged. This book discusses these developments until the 1970s, when conservators confronted with the processual and intangible aspects of contemporary art started to question the principles of scientific conservation and again began to value other forms of knowledge.
Contributors are: Camille Bourdiel, Marco Cardinali, Leib Celnik, Angela Cerasuolo, Esther van Duijn, Sven Dupré, Noémie Etienne, Thierry Ford, Michael von der Goltz, Jo Kirby, Hero Lotti, Salvador Muñoz-Viñas, Maeva Pimo, Ron Spronk, Geert Vanpaemel, and Aga Wielocha.
Contributors are: Camille Bourdiel, Marco Cardinali, Leib Celnik, Angela Cerasuolo, Esther van Duijn, Sven Dupré, Noémie Etienne, Thierry Ford, Michael von der Goltz, Jo Kirby, Hero Lotti, Salvador Muñoz-Viñas, Maeva Pimo, Ron Spronk, Geert Vanpaemel, and Aga Wielocha.
Sven Dupré is Professor of History of Art, Science and Technology at Utrecht University and the University of Amsterdam. His research lies at the intersection of art history and the history of science and technology, recently focusing on conservation and its history.
Esther van Duijn, Ph.D., is paintings conservator and researcher, specialised in the history of paintings conservation. She is currently working at the Rijksmuseum in Amsterdam, as part of the Operation Night Watch team.
Esther van Duijn, Ph.D., is paintings conservator and researcher, specialised in the history of paintings conservation. She is currently working at the Rijksmuseum in Amsterdam, as part of the Operation Night Watch team.
Contents
Acknowledgements
Notes on Contributors
List of Figures
Introduction: The Invention of Scientific Conservation. Expert Cultures of Conservation after the Second World War
âSven Dupré and Esther van Duijn
Part 1 Scientific Conservation, International Collaboration, and Education
1 The Foundation of IIC and the Fight for Scientific Conservation
âHero Lotti
2 Science, Art History, and the Education of the Professional Restorer
âGeert Vanpaemel
3 Cleaning Paintings and Politics: The German Start in the Post-war Conservation World
âMichael von der Goltz
4 The Smithsonian Institution and the Rise of the American Conservation Laboratory after the Second World War
âLeib Celnik
Part 2 Museum Laboratories as Places for Science for Conservation
5 The Laboratory of the Louvre Museum after the Second World War: The Movement towards Professionalisation, 1946â1955
âCamille Bourdiel
6 A Scandinavian Awakening: The Emergence of Science in Conservation at the National Gallery in Oslo (1956â1974)
âThierry Ford
7 The Founding of the Capodimonte Museum in 1957 and the Creation of its Conservation Laboratory: Scientific Conservation/Restoration in Naples in the Context of Post-war Italy
âAngela Cerasuolo
8 Science and Conservation at the National Gallery, London: The 1950s to the 1970s
âJo Kirby
Part 3 New Technologies, Art History, and Conservation
9 âThe Ideal of the Ideal Environmentâ: The Influence of Climate Control on the Emergence of Preventive Conservation Theories
âAndrea Luciani
10 X-Ray Imaging Techniques and the Quest for Reliable Insight into Paintings
âMarco Cardinali
11 J.R.J. van Asperen de Boer and the Development of Infrared Reflectography, 1960â1980
âRon Spronk
Part 4 The Limits of Scientific Conservation and the Plurality of Conservation Knowledge
12 When Art Shifts, Conservation Expands
âAga Wielocha
13 Situated Conservation: Pragmatism, Politics, and Aesthetics of Care
âNoémie Ãtienne and Maeva Pimo
Epilogue: A Vindication of the Conservatorâs Knowledge
âSalvador Muñoz Viñas
Acknowledgements
Notes on Contributors
List of Figures
Introduction: The Invention of Scientific Conservation. Expert Cultures of Conservation after the Second World War
âSven Dupré and Esther van Duijn
Part 1 Scientific Conservation, International Collaboration, and Education
1 The Foundation of IIC and the Fight for Scientific Conservation
âHero Lotti
2 Science, Art History, and the Education of the Professional Restorer
âGeert Vanpaemel
3 Cleaning Paintings and Politics: The German Start in the Post-war Conservation World
âMichael von der Goltz
4 The Smithsonian Institution and the Rise of the American Conservation Laboratory after the Second World War
âLeib Celnik
Part 2 Museum Laboratories as Places for Science for Conservation
5 The Laboratory of the Louvre Museum after the Second World War: The Movement towards Professionalisation, 1946â1955
âCamille Bourdiel
6 A Scandinavian Awakening: The Emergence of Science in Conservation at the National Gallery in Oslo (1956â1974)
âThierry Ford
7 The Founding of the Capodimonte Museum in 1957 and the Creation of its Conservation Laboratory: Scientific Conservation/Restoration in Naples in the Context of Post-war Italy
âAngela Cerasuolo
8 Science and Conservation at the National Gallery, London: The 1950s to the 1970s
âJo Kirby
Part 3 New Technologies, Art History, and Conservation
9 âThe Ideal of the Ideal Environmentâ: The Influence of Climate Control on the Emergence of Preventive Conservation Theories
âAndrea Luciani
10 X-Ray Imaging Techniques and the Quest for Reliable Insight into Paintings
âMarco Cardinali
11 J.R.J. van Asperen de Boer and the Development of Infrared Reflectography, 1960â1980
âRon Spronk
Part 4 The Limits of Scientific Conservation and the Plurality of Conservation Knowledge
12 When Art Shifts, Conservation Expands
âAga Wielocha
13 Situated Conservation: Pragmatism, Politics, and Aesthetics of Care
âNoémie Ãtienne and Maeva Pimo
Epilogue: A Vindication of the Conservatorâs Knowledge
âSalvador Muñoz Viñas
The book is relevant to academics and post-graduate students in history of science and technology and art history. It is of immediate interest to institutes, specialists, students, academics, and practitioners in the world of conservation.