Course Description
The introductory course in the conservation of paintings focuses on the three main categories of paintings on movable or immovable supports, namely wall paintings, panel paintings (icons) and oil paintings on canvas, and briefly examines the evolution of their technological and morphological characteristics from antiquity to the present day. The theoretical course focuses on: – The historical and social context in which the above-mentioned painting techniques flourished, – the study of the materials and technology of creation, the stratigraphy of the artworks, the identification of traces of tools and technological features, interventions, overpaintings, etc. – the pathology of paintings, with emphasis on primary damage and the use of the appropriate diagnostic methodology, – ethics of conservation and restoration, – preventive conservation and first aid measures, as well as criteria for the selection of conservation methodology. At the same time, the students are trained on samples, mock-ups and also on paintings, wall paintings, panel paintings and oil paintings on canvas. The exercises include: -Familiarization with the materials and techniques of wall paintings, panel paintings and oil paintings on canvas. – Developing and presenting a methodology for investigating and documenting construction technology and conservation status. – Examination of stratigraphic sections, identification of technological features, interventions, and paintings. – Identification and understanding of mechanisms of primary damage – Development of proposals for preventive conservation and rescue measures. – Ethics and ethical constraints in decision making for the conservation of paintings.
Expected Learning Outcomes
Students should be able to:
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- Investigate, identify and understand construction techniques and materials of paintings.
- Identify and document the pathology of paintings.
- Propose an appropriate methodology for the investigation of techniques and materials.
- Propose key actions for preventive conservation of painted artworks.
The Scope of the Course and Objectives After the completion of the course the students will be able to understand, at a first level: • the basic knowledge of the techniques and materials of paintings: wall paintings, panel paintings and paintings on canvas, • the technological characteristics linked to their state of preservation, • the main factors and mechanisms of deterioration, • the diagnostic methodology of their state of preservation, and the materials and painting techniques, • their pathology, with emphasis on primary and endogenous deterioration, • the basic conservation procedures, • the elements to be taken into account for the preventive, and interventive conservation and restoration of paintings, their historical and aesthetic status, their values and significance, • the legal, and ethical framework for their protection. • In addition, students will acquire basic knowledge of the methods of examination and documentation as well as the necessary skills for handling paintings. STUDENTS ASSESSMENT Language of evaluation: Greek (English for Erasmus students). The student’s final grade results from 50% of the grade of the theoretical part and 50% of the grade of laboratory practice. Students’ evaluation (100%): THEORY: Written exams (50%) LAB PRACTICES (50%): Questionnaire (5%) Written essay (15%) Presentation (15%) Technical report (15%) Assessment criteria are reported orally in the face-to-face course and in writing in the e-class of the course. SUGGESTED BIBLIOGRAPHY -Agrawal, O.P., 2001. Examination and conservation of wall paintings: a manual, New Delhi: Sundeep Prakashan. -Bomford D., Leonard, M., 2005, Issues in the Conservation of Paintings. Getty Conservation Institute Series: Readings in Conservation. -Brajer, I., 2008. Values and opinions of the general public on wall paintings and their restoration: a preliminary study, Conservation and Access: Contributions to the 2008 IIC Congress, London. -Βιτρούβιος (1996) Περί αρχιτεκτονικής. Πλέθρον, Αθήνα. -Bregnhøi, L., Hughes, H., Lindbom, J., Olstad T., Verweij E., 2009. Paint Research in Building Conservation. London, Archetype. -Casadio, F, Giangualano, I., Piqué, F. (2004) Organic materials in wall paintings: the historical and analytical literature, Reviews in Conservation. -Cather, S., (ed.) 1987. 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. -Cennini C., 1990. Το Βιβλίο της Τέχνης. Αθήνα, Artigraf. –Cowper A.D., 1998. Lime and Mortars. Donhead Publishing Ltd. -Dardes, Κ., Rothe, Α. (eds), 1995. The Structural Conservation of Panel Paintings: Proceedings of a Symposium at the J. Paul Getty Museum. Getty Conservation Institute. Δουλγερίδης Μ. 2012. Υλικά και Τεχνικές της ζωγραφικής στο πέρασμα του χρόνου. Αγγελάκη. Διονύσιος ο εκ Φουρνά, Ερμηνεία της ζωγραφικής τέχνης. Παπαδόπουλου – Κεραμέως Α., τυπογραφείο B. Kirschbaum 1909, ανατύπωση από τις εκδόσεις Σπανός. -Eastlake Sir C. L., 1960. Methods and materials of the great schools and masters, Dover Publications, vol. 1, New-York. -Feller, R. ed. 1986. Artists’ Pigments: A Handbook of Their History and Characteristics, Volume 1. Washington: National Gallery of Art. -ICOMOS, (2003) Principles for the Preservation and Conservation/Restoration of Wall Paintings, ICOMOS. -International Institute for Conservation (IIC), 1996. Painting techniques: History, Materials and Studio Practice Contributions to the IIC Dublin Congress, IIC. -Kakoulli I., 2009. Ancient Greek Painting Techniques and Materials, Archetype. Καπετανίδης Ν. 2005. Χρώματα Ζωγραφικής & Αρχιτεκτονικής. Εκδ. Ζήτη. Κόντογλου Φώτιος, (1979) Έκφρασις της Ορθοδόξου Εικονογραφίας, Αστήρ. Λυδάκης Στ. 2009. Oρολογία εικαστικών τεχνών, Αθήνα, εκδ. Μέλισσα. -Mayer, R., 1982. The Artist’s Handbook of Materials and Techniques. New York: Viking Press. -Mastrotheodoros G., Beltsios K.G., Zacharias N., 2010. Assessment οf The Production Of Antiquity Pigments Through Experimental Treatment οf Ochres αnd οther Iron Based Precursors. Mediterranean Archaeology and Archaeometry, Vol. 10, No. 1, pp. 37‐59. -Merrifield M. 2004. The Art of Fresco Painting in the Middle Ages and the Renaissance, Dover Publications. -Mora P., Mora L., Philippot P., 1985. The Conservation of Wall Paintings. Butterworths. -Phenix, A., Chui S.A., eds. 2011. Facing the Challenges of Panel Paintings Conservation: Trends, Treatments, and Training: Proceedings from the Symposium Facing the Challenges of Panel Paintings Conservation: Trends, Treatments, and Training Organized by the Getty Conservation Institute, the Getty Foundation, and the J. Paul Getty Museum: The Getty Center, Los Angeles, May 17-18, 2009. Los Angeles, CA: Getty Conservation Institute. -Pique, F., (2005) Science for the Conservation of Wall Paintings, GCI Newsletter 20.2, Summer 2005. Πλίνιος ο Πρεσβύτερος, (1994). Περί της αρχαίας ελληνικής ζωγραφικής, 35ο βιβλίο της Φυσικής Ιστορίας. Άγρα. -Roy Ashok, ed., 1993. Artists’ Pigments: A Handbook of Their History and Characteristics, Volume 2. National Gallery of Art Τόμπσον, Ν., Οι τεχνικές και τα υλικά της μεσαιωνικής ζωγραφικής, εκδόσεις Αρμός. -Torraca, Giorgio, 2009. Lectures on Materials Science for Architectural Conservation. Los Angeles: The Getty Conservation Institute. -Wallert, A., Hermens, E., Peek, M., 1995. Historical painting techniques, materials, and studio practice: preprints of a symposium, University of Leiden, the Netherlands, 26-29 June, 1995 Getty Conservation Institute. -West FitzHugh, E., ed. 1997. Artists’ Pigments: A Handbook of Their History and Characteristics, Volume 3. National Gallery of Art -Related scientific journals: -Studies in Conservation -Reviews in Conservation -Journal of Architectural Conservation -Getty Conservation Institute (GCI) Newsletter -Journal of Cultural Heritage