Academic literature on the topic 'Conservation and restoration of art objects'
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Journal articles on the topic "Conservation and restoration of art objects"
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Vernez, David, Barthélémy Wognin, Catherine Tomicic, Gregory Plateel, Nicole Charrière, and Stefanie Bruhin. "Cyclododecane exposure in the field of conservation and restoration of art objects." International Archives of Occupational and Environmental Health 84, no. 4 (November 17, 2010): 371–74. http://dx.doi.org/10.1007/s00420-010-0596-1.
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Gómez Manzanares, Ángela, Anto J. Benítez, and Juan Carlos Martínez Antón. "Virtual Restoration and Visualization Changes through Light: A Review." Heritage 3, no. 4 (November 17, 2020): 1373–84. http://dx.doi.org/10.3390/heritage3040076.
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The virtual modification of the appearance of an object using lighting technologies has become very important in recent years, since the projection of light on an object allows us to alter its appearance in a virtual and reversible way. Considering the limitation of non-contact when analysing a work of art, these optical techniques have been used in fields of restoration of cultural heritage, allowing us to visualize the work as it was conceived by its author, after a process of acquisition and treatment of the image. Furthermore, the technique of altering the appearance of objects through the projection of light has been used in projects with artistic or even educational purposes. This review has treated the main studies of light projection as a technique to alter the appearance of objects, emphasizing the calibration methods used in each study, taking into account the importance of a correct calibration between devices to carry out this technology. In addition, since the described technique consists of projecting light, and one of the applications is related to cultural heritage, those studies that carry out the design and optimization of lighting systems will be described for a correct appreciation of the works of art, without altering its state of conservation.
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Baglioni, Michele, Giovanna Poggi, David Chelazzi, and Piero Baglioni. "Advanced Materials in Cultural Heritage Conservation." Molecules 26, no. 13 (June 29, 2021): 3967. http://dx.doi.org/10.3390/molecules26133967.
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Cultural Heritage is a crucial socioeconomic resource; yet, recurring degradation processes endanger its preservation. Serendipitous approaches in restoration practice need to be replaced by systematically addressing conservation issues through the development of advanced materials for the preservation of the artifacts. In the last few decades, materials and colloid science have provided valid solutions to counteract degradation, and we report here the main highlights in the formulation and application of materials and methodologies for the cleaning, protection and consolidation of works of art. Several types of artifacts are addressed, from murals to canvas paintings, metal objects, and paper artworks, comprising both classic and modern/contemporary art. Systems, such as nanoparticles, gels, nanostructured cleaning fluids, composites, and other functional materials, are reviewed. Future perspectives are also commented, outlining open issues and trends in this challenging and exciting field.
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Prati, Silvia, Francesca Volpi, Raffaella Fontana, Paola Galletti, Loris Giorgini, Rocco Mazzeo, Laura Mazzocchetti, Chiara Samorì, Giorgia Sciutto, and Emilio Tagliavini. "Sustainability in art conservation: a novel bio-based organogel for the cleaning of water sensitive works of art." Pure and Applied Chemistry 90, no. 2 (February 23, 2018): 239–51. http://dx.doi.org/10.1515/pac-2017-0507.
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Abstract Organo- and hydrogels have been proposed in the restoration field to treat different types of surfaces. The possibility to retain solvents and to have a controlled and superficial action allowed to use these materials for the removal of very thin layers applied on ancient historical objects, when the under paint layers are particularly delicate and water sensitive. In the last years, an increased attention has been devoted to the proposal of more healthy products to guarantee the safeguard of the operators. Few attention has been devoted to the development of green methods which foresee the use of renewable and biodegradable materials. The aim of this paper is to test a green organo-gel for the cleaning of water sensitive surfaces like varnished egg tempera paintings. The gel has been tested experimented on mock ups varnished with natural and synthetic materials and has been validated on a small portion of a Cimabue painting for the removal of two varnishes applied on two different test areas of the painting.
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Malik, Umair Shafqat, Liselore Tissen, and Arnold Vermeeren. "3D Reproductions of Cultural Heritage Artifacts: Evaluation of Significance and Experience." Studies in Digital Heritage 5, no. 1 (June 30, 2021): 1–29. http://dx.doi.org/10.14434/sdh.v5i1.32323.
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3D digitization of cultural heritage has long been used to preserve information about cultural heritage (CH) objects such as architecture, art, and artifacts. 3D dissemination of CH objects through technologies such as augmented reality, virtual reality, and 3D printing have impacted the fields of art history and cultural heritage and have become more common. Yet, studies that go beyond the technical aspects of 3D technology and treat such topics as their significance for restoration, conservation, engagement, education, research, and ethics hardly exist. The aim of this paper is twofold: on the one hand, it aims to get a better understanding of the applicability of each technology for different purposes (education, research, conservation/restoration, and museum presentation), and, on the other hand, it focuses on the perception of these technologies. This research was carried out by combining a literature review with quantitative and qualitative analyses of the data acquired through (1) a questionnaire of eleven questions and (2) a workshop with a group of specialists and non-specialists who were asked to brainstorm about the different uses of the 3D technologies and their applicability to their areas of work and research. Based on the analysis of these quantitative and qualitative data, we provide some criteria for using 3D digitized and printed reproductions to enhance cultural experiences. The results demonstrate the importance of carefully designing 3D interactions in the personal and cultural contexts of end-users and cultural institutions in order to create authentic cultural experiences.
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Albertin, Fauzia, Matteo Bettuzzi, Rosa Brancaccio, Maria Pia Morigi, and Franco Casali. "X-Ray Computed Tomography In Situ: An Opportunity for Museums and Restoration Laboratories." Heritage 2, no. 3 (July 19, 2019): 2028–38. http://dx.doi.org/10.3390/heritage2030122.
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X-ray Computed Tomography (X-ray CT) is a sophisticated non-destructive imaging technique to investigate structures and materials of complex objects, and its application can answer many conservation and restoration questions. However, for Cultural Heritage investigations, medical CT scanners are not optimized for many case-studies: These instruments are designed for the human body, are not flexible and are difficult to use in situ. To overcome these limitations and to safely investigate works of art on site—in a restoration laboratory or in a museum—the X-ray Tomography Laboratory of the University of Bologna designed several CT systems. Here we present two of these facilities and the results of important measurement campaigns performed in situ. The first instrument, light and flexible, is designed to investigate medium-size objects with a resolution of a few tens of microns and was used for the CT analysis of several Japanese theater masks belonging to the collection of the “L. Pigorini” Museum (Rome). The second is designed to analyze larger objects, up to 200 cm and was used to investigate the collection of the so-called “Statue Vestite” (devotional dressed statues) of the Diocesan Museum of Massa.
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Huth, Andreas, and Katharine Stahlbuhk. "AWARENESS OF MATERIALITY IN TIME AND CONDITION. THOUGHTS ON THE RELATION BETWEEN ART HISTORY AND CONSERVATION." Protection of Cultural Heritage, no. 8 (December 20, 2019): 123–38. http://dx.doi.org/10.35784/odk.1074.
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Art historical research needs to consider the materiality of artefacts, but the character of the material and the state of preservation of any object change over time. Today’s restoration and conservation sciences provide the basis for present research in the field of history of art and architecture. Following this premises and with some examples from current research projects our contribution tries to show how much the contemporary academic Art History can benefit from the material and technical knowledge of conservators.
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Bal, Mieke. "Guest Column: Exhibition Practices." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 9–23. http://dx.doi.org/10.1632/pmla.2010.125.1.9.
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What the public gets to see of museums is in the exhibitions in which their holdings are presented; beyond the archival functions of conservation, categorization, and restoration, this presentation is at the heart of museums as cultural institutions. Until a few decades ago, exhibitions were predictable in format and structure. Visitors attended monographic and period exhibitions to be instructed and to enjoy themselves according to the old adage of utile dulci. Every exhibition was an episode in a traditional conception of the management of art's relation to the public. Curators were also conservators; they studied, preserved, and categorized art objects and presented a selection of these according to the knowledge acquired. The space in which the objects were presented was kept as neutral as possible, so as not to disturb the viewer.
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Peers, Glenn. "Framing and Conserving Byzantine Art at the Menil Collection: Experiences of Relative Identity." Zeitschrift für Medien- und Kulturforschung 6, no. 2 (2015): 25–44. http://dx.doi.org/10.28937/1000106440.
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Die Erhaltung und Ausstellung von historischen Kunstwerken geht viele Risiken in Bezug auf die Darstellung des Lebens und der Bedeutungen von Objekten ein. Dieser Beitrag untersucht die Identitäten einiger besonders fesselnder Beispiele byzantinischer Kunst, die in der Menil Collection in Houston, Texas unter besonderen Umständen restauriert wurden. Eine Untersuchung der Wiederherstellung der Fresken und Ikonen sowie ihrer jeweiligen Ausstellungsgeschichten offenbart die Kontingenzen unserer Begegnungen mit und Erklärungen von historischer Kunst. </br></br>Conservation and exhibition of historical works of art run many risks of misrepresentation of the life and meanings of objects. This paper explores the identities of some particularly compelling examples of Byzantine art restored under special circumstances at the Menil Collection in Houston, Texas. This examination of the restoration of frescos and icons, and their particular display histories, reveals the contingencies of our encounters with and explanations of historical art.
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Bouséé, Derek. "Restoring the Photographed Past." Public Historian 24, no. 2 (2002): 9–40. http://dx.doi.org/10.1525/tph.2002.24.2.9.
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This article points to cases around the world in which old photographs have been used as the basis for restoring damaged or destroyed public treasures to their "original" condition. The author asks, however, whether photographs can really be reliable historical documents of the past of some object or place that is much older than the art of photography itself. Among his conclusions is that in historical restoration efforts, photographic "evidence" often depicts an arbitrary point in history that is taken at face value and institutionalized as "official truth." He offers some tentative recommendations for future restoration efforts involving photographic evidence.
Dissertations / Theses on the topic "Conservation and restoration of art objects"
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Theodorakopoulos, Charalampos. "The excimer laser ablation of picture varnishes : an evaluation with reference to light-induced deterioration." Thesis, Royal College of Art, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602333.
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Honiball, Marike. "Three-dimensional scanning as a means of archiving sculptures." Thesis, [Bloemfontein?] : Central University of Technology, Free State, 2011. http://hdl.handle.net/11462/149.
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Thesis (M. Tech. Design technology) -- Central University of Technology, Free State, 2011This dissertation outlines a procedural scanning process using the portable ZCorporation ZScanner® 700 and provides an overview of the developments surrounding 3D scanning technologies; specifically their application for archiving Cultural Heritage sites and projects. The procedural scanning process is structured around the identification of 3D data recording variables applicable to the digital archiving of an art museum’s collection of sculptures. The outlining of a procedural 3D scanning environment supports the developing technology of 3D digital archiving in view of artefact preservation and interactive digital accessibility. Presented in this paper are several case studies that record 3D scanning variables such as texture, scale, surface detail, light and data conversion applicable to varied sculptural surfaces and form. Emphasis is placed on the procedural documentation and the anomalies associated with the physical object, equipment used, and the scanning environment. In support of the above, the Cultural Heritage projects that are analyzed prove that 3D portable scanning could provide digital longevity and access to previously inaccessible arenas for a diverse range of digital data archiving infrastructures. The development of 3D data acquisition via scanning, CAD modelling and 2D to 3D data file conversion technologies as well as the aesthetic effect and standards of digital archiving in terms of the artwork – viewer relationship and international practices or criterions of 3D digitizing are analysed. These projects indicate the significant use of optical 3D scanning techniques and their employ on renowned historical artefacts thus emphasizing their importance, safety and effectiveness. The aim with this research is to establish that the innovation and future implications of 3D scanning could be instrumental to future technological advancement in an interdisciplinary capacity to further data capture and processing in various Cultural Heritage diagnostic applications.
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Sheehan, Jennifer Karr. "Intangible Qualities of Rare Books: Toward a Decision-Making Framework for Preservation Management in Rare Book Collections, Based Upon the Concept of the Book as Object." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5213/.
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For rare book collections, a considerable challenge is involved in evaluating collection materials in terms of their inherent value, which includes the textual and intangible information the materials provide for the collection's users. Preservation management in rare book collections is a complex and costly process. As digitization and other technological advances in surrogate technology have provided new forms representation, new dilemmas in weighing the rare book's inherently valuable characteristics against the possibly lesser financial costs of surrogates have arisen. No model has been in wide use to guide preservation management decisions. An initial iteration of such a model is developed, based on a Delphi-like iterative questioning of a group of experts in the field of rare books. The results are used to synthesize a preservation management framework for rare book collections, and a small-scale test of the framework has been completed through two independent analyses of five rare books in a functioning collection. Utilizing a standardized template for making preservation decisions offers a variety of benefits. Preservation decisions may include prioritizing action upon the authentic objects, or developing and maintaining surrogates in lieu of retaining costly original collection materials. The framework constructed in this study provides a method for reducing the subjectivity of preservation decision-making and facilitating the development of a standard of practice for preservation management within rare book collections.
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Pedragosa, Garcia Núria. "La conservació del revers. Criteris de restauració del suport de tela de la pintura catalana moderna com a testimoni històric i artístic." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/672482.
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Cada quadre conté diferents tipus d'informació. El missatge estètic és el que acostuma a centrar l'atenció dels analistes, però no és l'únic. Existeix tot un altre cúmul de dades que poden donar-nos coneixement. El suport de l'obra pictòrica n'és un, i el revers és la superfície d'aquesta matèria. Les diverses capes de preparació que fan de coixí a la pintura, les diferents tipologies de bastidor i de tela de suport, les inscripcions de l'artista al dors, el marc o els segells distintius que ha anat reunint l'obra d'art, constitueixen una font de coneixement essencial, una autèntica cara oculta de la pintura. Però de la mateixa manera que no hi ha cap revers idèntic, hi ha un fenomen d'envelliment col·lectiu que els iguala. També existeix una xarxa interna que relaciona les obres entre si quan es troben agrupades en una mateixa col·lecció i el temps hi va deixant la seva empremta.
L'objectiu d'aquesta tesi és justament indagar sobre els indicis històrics, teòrics i físics d'aquestes traces en els reversos dels quadres, defensant la necessitat de preservar-les i també mostrar les tècniques que poden fer possible la seva conservació. La investigació d'aquesta tesi se centra en pintura catalana sobre tela cronològicament situada entre els inicis del segle XIX i la dècada dels anys trenta del segle XX a través de la col·lecció permanentment exposada del Museu Nacional d'Art de Catalunya. És especialment important resseguir la repercussió que té, des del punt de vista dels materials, l'evolució industrial catalana amb els consegüents efectes comercials. De la utilització del lli o el cànem es passa a la incorporació del cotó com a element innovador per l'abaratiment que comportava. Apareixerà una estandardització dels formats que trencara amb la tradició artesana dels pintors que havien emprat uns suports més rígids, tendint cap a materials més lleugers. Aquests i altres elements característics de la morfologia dels suports de les pintures mereixeran l'atenció de la primera part de la tesi.
En el segon capítol procedirem a l'anàlisi detallada dels reversos d'obres concretes i de pintors representatius de l'època estudiada, a partir de la selecció establerta pel projecte museogràfic del MNAC. La informació bibliogràfica específica sobre reversos de pintures sobre tela i els materials artístics a Catalunya, així com sobre els procediments pictòrics, és relativament escassa, cosa que obliga a recollir la majoria de dades de primera ma directament del material analitzat. El treball de camp esdevé així una fase necessària, que sorprèn i satisfà pel que té d'inexplorat i per la voluntat que aquesta recerca documental esdevingui un marc de coneixement per a futures investigacions.
La progressiva consciència dels conservadors-restauradors per trobar solucions idònies a la degradació de les obres, està creant un interessant camp d'investigació practica en el qual professionals de passos diversos experimenten noves tècniques que puguin harmonitzar una continuïtat física dels materials de suport tèxtils. És per això que aquesta part dedicada als criteris d'intervenció desenvolupara mètodes actuals com la sutura de fils amb adhesius termofusibles i la documentació sistemàtica dels reversos que enceten una via imprescindible per a resguardar íntegrament el patrimoni artístic sobre tela.
L'última part d'aquesta tesi consisteix en el Catàleg de reversos de la col·lecció permanent d'art modern del MNAC. És un inventari visual i indexat dels objectius i l'abast d'aquesta tesi i resulta, en si mateix, una obra inèdita. Juntament amb la Galeria de reversos - que selecciona i mostra en detall els reversos més significatius, i més bells, de la col·lecció - fa visualitzar tot allò que, en ser documentat, proposa la necessitat ineludible de conservar-ho.
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Cabello, Briones Cristina. "The effects of open shelters on the preservation of limestone remains at archaeological sites." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:cfefc6db-4b4f-4ef8-bff3-07795e2767fc.
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Shelters, as preventive conservation methods, have traditionally been considered a better option than leaving the site exposed. However, there has been limited research on their effect on the preservation of heritage materials and, as a result, there is no clear scientific evidence to support sheltering. This study aims to provide the first rigorous scientific assessment of the effect of lightweight, open shelters on limestone deterioration at archaeological sites. A method based on the use of low-cost environmental monitoring equipment and limestone blocks and tablets (as indicators of decay) has been developed to determine the degree of protection provided by the shelters at the Bishop' Palace (Witney, England) and Hagar Qim (Malta). Preliminary visual assessments of the field sites were followed by 12-18 month exposure trials. Temperature extremes and fluctuations, frost events, relative humidity extremes and fluctuations, NaCl crystallisation events, solar radiation, wetting events, salt content, atmospheric pollutants and dust deposition were monitored. In addition, stone decay was studied by analysing changes in weight, elasticity, surface hardness, ultrasonic pulse velocity, surface colour, moisture content and general appearance (microscopic and macroscopic pictures) in stone samples. An exhaustive assessment of the shelter at the Bishop's Palace was carried out using Chalk, Cotswold and Portland limestone blocks as well as Portland limestone tablets (specifically for studying dissolution, soiling and biological growth). Additionally, a comparative assessment of the effects of the two shelters in contrasting climatic environments, the Bishop's Palace (temperate maritime) and Hagar Qim (Mediterranean), was undertaken by monitoring Globigerina and Coralline limestone blocks simultaneously at both sites. The research has shown that lightweight, open shelters do not exclude decay completely but minimise it. However, there are some areas at higher risk of decay, i.e. top parts of the walls and the periphery. In addition, problems with the shelter design can enhance some decay mechanisms, such as biocolonisation on the periphery at the Bishop's Palace and dust deposition under the shelter at Hagar Qim. Therefore, the effectiveness of shelters should not be assumed.
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Xarrié, i. Poveda Mireia. "El llenguatge de la conservació-restauració d'obres d'art." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/298466.
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La tesi doctoral que presentem a continuació és innovadora perquè és el primer estudi extens i rigorós sobre el llenguatge de la conservació-restauració d'obres d'art, no només analitzant els seus vocabularis, sinó també raonant-ne l'ús que en fa aquesta professió. Aquesta recerca és multidisciplinar, en aquest sentit la conservació-restauració d'obres d'art mai havia estat comparada i contextualitzada des del punt de vista de la lingüística i les ciències de la informació. Finalment, es tracta d'una investigació d'abast internacional poc freqüent en aquesta disciplina.
L’interès d’aquest estudi es centra en la conservació-restauració dels béns mobles, l'arquitectura s'allunya del nostre camp de treball. La conservació-restauració és l'activitat que inclou les tasques de reconeixement, documentació, tractament i prevenció, recolzat per la recerca i l'educació (AIC, 1996), implica acció directa sobre el patrimoni cultural amb l'objectiu d'estabilitzar el seu estat i retardar el seu deteriorament (ICON, 2008).
La història d'aquesta disciplina ens introdueix el tema del desenvolupament de la professió, el qual ens ajuda a començar a entendre el llenguatge de la conservació-restauració. Fins el segle XVIII no neix la professió del restaurador a França, però és l'excepció, a la resta d'Europa la distinció entre artesà, pintor i restaurador no es feu evident fins un segle més tard. Per un altre costat, a principis del segle XIX els científics comencen a investigar les obres d'art i fins el segle XX es creen laboratoris i departaments de conservació-restauració a dins dels museus occidentals. D'aquesta manera s'inicià el reconeixement d'aquesta professió i alhora l'ha convertí en interdisciplinar. És a dir, la conservació-restauració d'obres d'art amb una base eminentment artesanal creuava coneixements també amb la ciència i així esdevenia pluridisciplinar.
Aquesta pluridisciplinarietat és un altre factor que ens permet entendre i analitzar el vocabulari de la conservació-restauració perquè aquesta manlleva el llenguatge tècnic de les disciplines amb les quals intercanvia coneixements. I precisament és en l'àmbit de l'educació on també s'evidencia aquesta multidisciplinarietat perquè en els programes educatius els estudiants tenen assignatures relacionades amb l'art i la ciència.
La conservació-restauració d'obres d'art entrà en el món acadèmic a Europa després de la Segona Guerra Mundial quan a principis dels anys seixanta la United Nations Educational, Scientific and Cultural Organization (UNESCO) fundà a Roma l'International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) amb la finalitat de formar a professionals d'arreu del món i alhora que aquests entressin a treballar a la universitat o fundessin instituts de conservació-restauració. D'aquesta activitat formativa, educativa i acadèmica, en els anys seixanta a Europa començaren a publicar-se un corpus de textos especialitzat en conservació-restauració, els quals estaven escrits en anglès, francès i italià. En altres paraules, les publicacions especialitzades de la conservació-restauració apareixen en paral.lel a la creació d'estudis formatius i acadèmics, aquests textos contenen la terminologia d'aquesta disciplina, la qual té un abast temàtic molt extens. Per aquest motiu basant-nos en la base de dades dels llibres Glossary of art conservation i en l'anàlisi dels diccionaris sobre conservació-restauració publicats en vuit idiomes, vam arribar a la conclusió que la conservació-restauració només ha inventat dos termes: tratteggio i papetta AB-57.
Tanmateix per entendre la relació que té aquesta professió amb el llenguatge ens hem de remetre a la documentació perquè els conservadors-restauradors només escriuen, i per tant utilitzen el llenguatge, quan documenten un procés de conservació-restauració. A diferència de la documentació en els museus, que empren tesaurus i un llenguatge artificial i controlat, els conservadors restauradors documenten utilitzant un llenguatge natural i aquest fet dificulta encara més el seu estudi. En les carreres d'humanitats la base és el pensament que s'estructura amb el llenguatge, en la conservació-restauració el llenguatge no és una prioritat; com ja hem dit, l'utilitza principalment en les tasques de documentació; sinó els materials i per això coopera amb els químics i els físics. Paradoxalment, els professionals d'aquesta disciplina necessiten diccionaris perquè els textos que els interessen no només s'han escrit en anglès, per això, diccionaris en general i multilingües en particular, són eines indispensables per traduir, documentar, recuperar informació i facilitar la comunicació. I des del nostre punt de vista, era necessari un estudi que analitzés aquest llenguatge, malgrat no haver estat mai una prioritat en aquesta professió.
Finalment, aquesta disciplina té una llarga tradició històrica, però un recorregut acadèmic molt curt, per exemple, en comparació a la història de l'art. Aquest fet no li ha permès publicar suficients textos especialitzats i en conseqüència desenvolupar un vocabulari propi, potser en els propers anys des de les universitats, escoles i centres de formació se'n crearà de nou i genuí.This Ph.D thesis explores and describes from a multidisciplinary, academic and international point of view the language of art conservation. It is striking the relationship between education and publications because as a result of the education and training activity, reference books are written and published. Consequently, technical language is created. It may be obvious or not, terminology is invented in the educational field, where teachers, trainers, professors and academicians use language; in general, and the technical vocabulary of their disciplines, in particular; to provide knowledge to their pupils. Moreover, the teaching task often entails the writing activity, and the publications contain the vocabulary of a discipline. In other words, the students learn the terminology of their profession when they are trained and educated, as well as, when they read books. The overriding consideration is that art conservation historical evolution has developed it as a multidisciplinary: between art and science. Since the 19th century, the works of art became an interesting topic for scientist, from then in western museums, they began to work in museums’ laboratories, and the scientific point of view of the materials became one of the most challenging topics. An earlier example in the United States was the book Painting Materials. A Short Encyclopaedia, published in 1942 and written by J. Rutherford Gettens and George L. Stout, who were pioneers in the investigation of art works in the Fogg Museum of Art, Harvard University and the Isabella Stewart Gardner Museum in Boston. Another remarkable step forward in the development and history of art conservation’s education occured in the early 1960s, when the United Nations Educational, Scientific and Cultural Organization (UNESCO) founded the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM). There, art conservation’s students had lectures about chemistry, biology, etc. and finally, the education programs reflected the interdisciplinary nature of art conservation, besides, in their publications and lexicon.
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Rogerson, Cordelia. "Preserving jewellery created from plastics and rubber : application of materials and interpretation of objects." Thesis, Royal College of Art, 2010. http://researchonline.rca.ac.uk/338/.
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The adoption of plastics and rubber to artist jewellers’ repertoire of materials in the late 1960s marks a significant and permanent alteration to the artist jewellery discipline. Since this time the physical and conceptual possibilities of plastics have fuelled and enabled developments in this artistic field. Since the early 1970s museums and private collections have continually acquired artist jewellery created from plastic. Some of these artworks are now exhibiting change or deterioration. Discussion and debate regarding their preservation is a pressing need. To date, whilst there has been recent research into the deterioration of plastic materials found in cultural heritage, almost no published work or debate has addressed artist jewellery specifically. This research positions plastic artist jewellery within the expanding discipline of modern materials conservation and aims to raise awareness of preserving plastic jewellery artworks. The prevalent plastics in use for artist jewellery, their properties and importantly application, to create artistic intent, are identified. Current attitudes of custodians and artists towards preservation, which has a bearing on the past and future prospects of the artworks, are analysed. Despite not having articulated their opinion previously, many jewellery artists have considered the long term prospects of their work as part of their artistic practice. As change and deterioration of the artworks is inevitable the impact of change to jewellery artworks is considered. Understanding how material properties are applied to create intent, as identified, is essential to comprehend meaning and any alterations as a result of change. Finally, having deliberately drawn artists into the preservation debate the nature of their input is considered. Should jewellery artists intervene in their own work when treatment is required? The research is from a humanities rather than scientific perspective and is concerned with objects and their interpretation in the context of preservation. The artworks are the starting point and their context as jewellery objects is the primary concern. Oral testimony of artists is also crucial to draw the artists into the preservation process as stakeholders and because jewellery artists are hitherto unrecorded in this context. What is demonstrated throughout the thesis is that the wearable function of jewellery has a bearing on their perception and interpretation as objects.
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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.
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Pereira, Catarina Luísa Cortes. "Application of ionic liquids and enzymes for the removal of proteinaceous layers from polychrome of works of art and evaluation of the cleaning effectiveness." Master's thesis, Faculdade de Ciências e Tecnologia, 2012. http://hdl.handle.net/10362/9062.
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Dissertação Apresentada na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa para obtenção do grau de Mestre em Ciências da Conservação, especialização em PinturaA novel use of ionic liquids as alternative solvents for enzymes in cleaning treatments for the removal of proteinaceous materials from painted or gilded surfaces is presented. The ionic liquids are potentially green solvents to be applied in restoration treatments being also called designer solvents, because of their peculiar properties which can be adjusted by selecting different cationanion combinations. Two ionic liquids were selected: IL1)1-butyl-3-methylimidazolium tetrafluoroborate ([BMIM][BF4])and IL2) 1-ethyl-3-methylimidazolium ethylsulfate ([EMIM][EtSO4]). Formulations were prepared with these ionic liquids and two different proteases: one acid (pepsin) and one alkaline (from Aspergillus sojae). Additionally aqueous gel formulations were prepared with these enzymes for reference purpose. A third enzyme provided by the Bromatology Department at the Faculty of Pharmacy from the Porto University was tested only in gel formulation in order to assess its potential use in cleaning treatments. To understand the enzyme activity of these formulations and predict their ability as cleaning agents, analyses were performed with ultraviolet–visible (UV-Vis) spectroscopy and highperformance liquid chromatography (HPLC) prior cleaning; and with matrix-assisted laser desorption/ionization time of flight mass spectrometry (MALDI-TOF-MS) after cleaning. These formulations were tested on mock-up samples prepared in accordance with documented and historical sources of artistic techniques of egg tempera and oil painting, and gilding. A non-invasive non-destructive multi-scale analytical protocol was carried out for cleaning effectiveness evaluation and surface characterization before and after treatment. Different surface analytical techniques were adopted to this purpose: stereomicroscopy (SM), optical microscopy (OM) with visible and fluorescence light, atomic force microscopy (AFM), scanning electron microscopy (SEM) and electron dispersive spectroscopy (EDS) and colorimetry (CIE L*a*b* system). The surface analytical protocol proved to be adequate, not only, for monitoring the cleaning process but also for complete characterization of the surface, before and after treatment, including information on the presence of residues and possible surface deterioration. It was also proved that the formulations of enzymes combined with ILs can be used successfully for the removal of proteinaceous material as alternatives to gel formulations. More studies should be conducted to determine the most suitable IL or group of ILs, the main concern should focus on improving aspects such as compatibility with other surface materials, and possible long-term effects of residues after cleaning.
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Marín, Aznar Eva. "Desenvolupament i evolució d’un sistema modificat de LA-ICP/MS per la caracterització no destructiva d’obres del Patrimoni Cultural." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/380159.
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La tècnica de LA-ICP/MS presenta certs avantatges respecte altres tècniques d'anàlisi molt interessants per l'aplicació en el Camp de l'estudi del Patrimoni Cultural. Per una banda l'Ablació Laser aporta la possibilitat de la presa de mostra no manual, metodologia en moltes ocasions, més adequada en termes de destructivitat que els mètodes tradicionals. D'altra banda l'ús d'un ICP/MS com a detector aporta un nivell de sensibilitat per a la detecció de majoritaris i minoritaris però també de components en molt baixes concentracions que permet l'obtenció de resultats amb molt poca quantitat de mostra.
Malgrat això, el seu ús per la caracterització materials d'objectes del Patrimoni Cultural està molt restringit i fins a dia d'avui només es troben estudis aplicats a objectes ceràmics, metàl·lics i algunes aproximacions a materials d'arxiu, però no en l'aplicació específica a obra pictòrica. Una de les restriccions més importants ve relacionada amb les dimensions dels objectes, en general massa grans per ser analitzats en equips comercials.
Des d'un punt de vista analític existeixen dos aspectes importants a tenir present per la caracterització material d'aquest tipus d'objectes. Per una banda la heterogeneïtat intrínseca que presenten, fet que implica una complexitat important per la gran varietat de materials i estructures que es poden trobar. Per l'altre, la necessitat de conservar la integritat física, el que limita en molts casos la metodologia i procediments que es poden aplicar.
En aquest context, l'objectiu d'aquesta tesi doctoral ha estat el desenvolupament d'un sistema de LA-ICP/MS per a la caracterització material no destructiva d'objectes del Patrimoni Cultural i la seva aplicació a diferents tipologies d'objectes, especialment a Pintura de Cavallet i Materials d'Arxiu.
Dues de les aportacions més importants en el marc d'aquest treball han estat el desenvolupament d'un sistema òptic i la construcció d'una cel·la d'ablació. El sistema òptic permet dirigir el laser sobre un punt concret de l'objecte. A més permet també controlar tant el diàmetre del feix làser incident (diàmetre dels cràters d'ablació 100 µm) com la zona irradiada mitjançant una microcàmera de control. D'altra banda la cel·la d'ablació dissenyada és de fons obert i pot ser posicionada en qualsevol punt de l'objecte permetent l'anàlisi in situ sense restriccions en les seves mides, sense la necessitat d'extreure una mostra prèviament. Finalment l'aplicació de polsos successius sobre un mateix punt permet obtenir la informació estratigràfica, amb bona resolució espaial, tant en superfície com en profunditat.
En l'aplicació a Pintura de Cavallet els objectius responen a l'avaluació del senyal obtingut, la capacitat d'identificar la composició tant de majoritaris com de minoritaris, així com la resolució en profunditat, per l'adquisició de la informació estratigràfica de capes pictòriques i de preparació, fent especial èmfasi en la capacitat de detectar capes primes com veladures. Aquesta fase es va dur a terme mitjançant l'anàlisi de pintures simulacre realitzades al laboratori i també amb obra real. En el cas d'obra real s'han analitzat dues pintures sobre taula, una amb tècnica al tremp Verge amb el nen i un àngel atribuïda a Jan Massys, i una a l'oli titulada Retrato de Piero de Medici 'il Gotoso', de Jacomo Pontormo. En ambdós casos s'ha determinat la composició tant de superfície com de capes subjacents i s'ha contribuït a la contextualització i atribució de les obres.
En el cas de Material d'Arxiu, l'estudi s'ha centrat també en la caracterització material de manuscrits antics, fabricats a mà de draps i escrits amb tinta ferrogàl·lica. En aquest cas s'han estudiat les capacitats en termes de caracterització i distribució espaial en superfície, tant dels materials constitutius com dels efectes induïts per tractaments de conservació, en especial de desacidificació i laminació, avaluant els efectes de factors de corrosió i la seva influència en la conservació dels manuscrits.
Per les dues aplicacions la tècnica ha aporta informació útil i es constitueix com una alternativa complementària a altres tècniques utilitzades en el camp com el SEM-EDX o FTIR.Laser Ablation -ICP/MS is a technique which presents certain advantages regarding analysis of objects from Cultural Heritage field. In one hand the Laser Ablation device provides and alternative sampling procedure that may be more suitable for the analysis in this context. On the other hand the use of the ICP/MS as a detector, allows for the determination of the elemental composition in a wide range of concentrations with a minimum amount of material required. Nevertheless, its use for the material characterization of Cultural Heritage objects is highly restricted and only some experiences are published on the field of ceramic objects, metallic and some few cases study in manuscript analysis, but not on the analysis of paintings. One of the main drawbacks is the dimensions of the objects. As a consequence there are no commercially available instruments for LA-ICP/MS, including ablation cell, that permit the analysis of large objects like artworks neither Laser Ablation systems for “in situ” sampling had not been described until recently. From an analytical point of view, there are two primary concerns when characterizing works of art composition: the heterogeneity in the distribution of the components, at the macro and micro levels, and the need to preserve the physical integrity of each object In order to accomplish the analysis of objects regardless their size and material heterogenic composition, a specific optical system and ablation cell have been designed and coupled to the ICP/MS. The whole system has been applied on two different type of objects, easel Painting and Manuscripts, and some capabilities for each application evaluated. The capability of the developed LA-ICP/MS system for the analysis of paintings was evaluated in terms of damage produced on the artwork and its potential for stratigraphic composition determination by analyzing real painting such as the portrait of a member of the Medici Family attributed to Jacopo Pontormo, and a mannerist painting attributed to Jan Massys. Regarding the application to Manuscripts the main objective was the characterization of the original material composition and the effects of some restoration interventions in the pH, corrosion and degradation, evaluating the superficial resolution and the possibility to perform maps of the distribution. Results were compared with those obtained by SEM/EDX and FTIR.
Books on the topic "Conservation and restoration of art objects"
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Vē, Jeyarāj, Chemical Conservation and Research Laboratory (Government Museum (Madras, India)), and Indian Association for the Study of Conservation of Cultural Property., eds. Authenticity in art: With special reference to conservation of art objects. Chennai: Government Museum, 2006.
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Michael, Daley, ed. Art restoration: The culture, the business, and the scandal. London: J. Murray, 1993.
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The care and handling of art objects: Practices in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1987.
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Christine, Westphal, ed. The restauration [i.e. restoration] of paintings. Cologne: Könemann, 1999.
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Bureau, Scottish Conservation. Scottish conservation handbook: [a guide to the conservation and restoration of historic artefacts and cultural property]. Edinburgh: Scottish Conservation Bureau, 1999.
Find full textBook chapters on the topic "Conservation and restoration of art objects"
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Ramsay, Barbara A., and John K. Jacobs. "Art Conservation and Restoration." In Fine Art and High Finance, 263–86. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119204688.ch11.
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Gänsicke, Susanne. "Conservation of Egyptian Objects." In A Companion to Ancient Egyptian Art, 522–43. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch27.
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Faltermeier, Robert B. "Copyright and Law in Conservation and Restoration." In An Easy Guide to Care for Sculpture and Antique Art Collections, 85–87. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-08897-6_11.
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Swart, Jac A. A., and Henny J. van der Windt. "Knocking on Doors: Boundary Objects in Ecological Conservation and Restoration." In Sustainability Science, 399–413. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-3188-6_19.
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van den Heuvel, Lisanne, Inez van der Werf, Coos van Waas, and Klaas Jan van den Berg. "Approaches to the Identification of Royal Talens ETA (Emulsion) Paint in Objects of Art." In Conservation of Modern Oil Paintings, 97–107. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_7.
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Andreotti, Alessia, Maria Perla Colombini, Mauro Matteini, and Antonio Paolucci. "CHAPTER 9. The Wall Paintings of the Monumental Cemetery of Pisa: The War, the Restoration, the Conservation." In Science and Art, 193–208. Cambridge: Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781839161957-00193.
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Sprocati, Anna Rosa, Chiara Alisi, Giada Migliore, Paola Marconi, and Flavia Tasso. "Sustainable Restoration Through Biotechnological Processes: A Proof of Concept." In Microorganisms in the Deterioration and Preservation of Cultural Heritage, 235–61. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69411-1_11.
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AbstractAn understanding of the different microbial constellations or microbiomes, which every habitat and every organism harbor, will be the key to addressing many of the challenges humanity will face in the twenty-first century. Such comprehension could launch several innovations relating to natural and cultural capital, including historical and artistic heritage. In relation to cultural heritage, microorganisms are mainly known through their role as deteriogens, but the features creating damage can be exploited positively, attaining more sustainable restoration strategies, in accordance with the principles of compatibility and retreatability deriving from reflections on the Cultural Heritage inspired by the Charter of Venice (International charter for the Conservation and restoration of monument and sites (the Venice Chart 1964). In: ICOMOS, IInd International Congress of Architects and Technicians of Historic Monuments, 1964) onwards. In this article, we show a series of case studies, using both wild-type microorganisms and plant-based extracts, providing a comprehensive proof of concept of the feasibility of biotechnological solutions for a more sustainable restoration strategy, to replace the products in use which are often dangerous for operators, aggressive for works of art and no longer compatible with the environment. The overview of the case studies presented, many of which are still unpublished, responds to the need to go beyond the state of the art and has entirely sprung from suggestions by restorers, interested in learning about potential innovations and strongly determined to introduce non-toxic products in their daily work. In this perspective, the case studies dealt with two topics: bio-cleaning and disinfection. Noteworthy results were obtained on a platform of different types of artworks and different materials with compatible, harmless and selective products.
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Ranalli, Giancarlo, and Elisabetta Zanardini. "Advanced Biocleaning System for Historical Wall Paintings." In Microorganisms in the Deterioration and Preservation of Cultural Heritage, 217–33. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69411-1_10.
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AbstractThis chapter will focus on the potential role of safe microorganisms as biocleaning agents in the removal of altered or undesirable organic substances on historical wall paintings. Selected microbes can be adopted as biological cleaners to reduce and remove deterioration ageing phenomena, environmental pollutants and altered by-products of past intervention of restorations. The aim is to offer a comprehensive view on the role and potentiality of virtuous microorganisms pro- biocleaning of altered historical wall paintings. We also report four case studies in the CH restoration field, carried out in the last 25 years, with the innovative use of bacteria and different delivery systems, focusing the attention on the preliminary diagnosis and the monitoring of the whole process. The CH field represents a great challenge and Science and Art link together the work of conservator scientists and historians with researchers and scientists, sharing their diverse expertises and joining the knowledges to the preservation and the conservation of our artistic patrimony.
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"Restoration Process." In Conservation, Tourism, and Identity of Contemporary Community Art, edited by M. A. Zalbidea Muñoz, J. L. Regidor-Ros, V. Muhvich-Meirelles, and A. R. Benítez-Alcieri, 225–53. Toronto; Waretown, NJ : Apple Academic Press, 2018.: Apple Academic Press, 2017. http://dx.doi.org/10.1201/9781315209586-13.
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"Towards restoration." In History of the Restoration and Conservation of Works of Art, 28–57. Routledge, 2007. http://dx.doi.org/10.4324/9780080488936-6.
Full textConference papers on the topic "Conservation and restoration of art objects"
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Tavassoly, Mohammad T., Ahmad Darudi, Hamid R. Khalesifard, and Seyed M. R. Sadat Hosseini. "Applications of Fresnel diffraction from phase objects." In Lasers in Metrology and Art Conservation, edited by Roland Hoefling, Werner P. O. Jueptner, and Malgorzata Kujawinska. SPIE, 2001. http://dx.doi.org/10.1117/12.445579.
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Bersani, Danilo, Gianni Antonioli, Pier P. Lottici, L. Fornari, and Marcello Castrichini. "Restoration of a Parmigianino's fresco: a micro-Raman investigation of the pictorial surface." In Lasers in Metrology and Art Conservation, edited by Renzo Salimbeni. SPIE, 2001. http://dx.doi.org/10.1117/12.445667.
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Niang, Cheikh, Claudia Marinica, Elise Leboucher, Luc Bouiller, and Christine Capderou. "An ontological model for conservation-restoration of cultural objects." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7419476.
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Zanini, Alessandro, Fabrizio Margheri, Stephano Modi, and Maurizio Scortecci. "Line of laser systems for applications in the restoration yard and in the restorer's studio." In Lasers in Metrology and Art Conservation, edited by Renzo Salimbeni. SPIE, 2001. http://dx.doi.org/10.1117/12.445651.
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Gui, Oana, Radu Solovăstru, Ioan Petrescu, Theo Mureşan, Paul Valentin Borza, and Dan Dumitrescu. "CONSIDERATIONS REGARDING THE USE OF THE BIOLOGICALLY INSPIRED RETINEX ALGORITHM IN ART CONSERVATION–RESTORATION." In Electronic Visualisation and the Arts (EVA 2009). BCS Learning & Development, 2009. http://dx.doi.org/10.14236/ewic/eva2009.8.
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De Cadilhac, Rossella. "Quale futuro per il patrimonio fortificato: problemi di conservazione e valorizzazione." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11475.
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What future for fortified heritage: problems of conservation and enhancementWhat are the risk factors that undermine the conservation of fortified architecture? What are the future prospects of a heritage that is not always adequately protected and valued? These are the questions posed by castles, towers, fortresses that seem to have lost the meaning of their existence, for having failed in their original function. Certainly the abandonment involves an inevitable lack of maintenance with the inevitable decay due to natural causes with slow action and prolonged over time. But even bad restorations conducted without the necessary historical-critical awareness and the necessary technical skills can irreversibly cancel documents of art and history, as well as “material testimonies of civilization value”. It is a heritage of multiple criticalities that offers an extraordinary opportunity for contemporary design aiming at conservation. Innumerable problems are posed by fortified architectures, first and foremost the accessibility, but also their management, which cannot but take into account the very close typology-function relationship and where, however, the old utilization is no longer possible. Unquestionably the first step is represented by the knowledge of these singular architectures, in the becoming of historical processes, which is an unavoidable moment on which the choices aiming at conservation and valorisation depend. Emblematic from this point of view are some case studies investigated in Puglia which pose the problem of maximum conservative attention and desirable enhancement, pursued with the promotion of knowledge and the assurance of the best conditions of use, provided that the new function is respectful of the identity of the object of study, of its use vocations and attentive to the needs and expectations of the community.
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Baratin, Laura, and Serena Zuliani. "3D documentation for the Conservation and Restoration of contemporary works of art: The sculptures of Maurizio Savini." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6743845.
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Zaki, Ahmed H., Essam E. Khalil, Esmail M. Bialy, and Waleed A. Abdelmaksoud. "Numerical Investigations of the Air Flow Patterns and Temperature Distribution in a Museum Showroom, King Tutankhamun’s Gallery, Egyptian Museum." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-34102.
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The use of numerical simulation methods for the Cultural Heritage is of increasing importance for the analysis, conservation, restoration and appreciation of works of art. This is particularly important when their preservation and planned maintenance is the primary aim [1, 2]. King Tutankhamen’s gallery at the Egyptian museum is chosen for our study. The conservation of such artworks requires precise control of the indoor microclimatic conditions. Thus, a suitable HVAC system with reliable control is often necessary for a museum, to maintain acceptable indoor thermal-hygrometric parameters and air velocity and also to minimize the deviations of these parameters from the design values. An investigation of airflow characteristics inside King Tutankhamen’s gallery at the Egyptian museum is studied. The effect of visitors within the gallery space is discussed. Lighting is mainly neglected and its effect is shown in a limited procedure. The variability of inlet air velocities and the grills location in the gallery is studied to achieve a better understanding of the closest solution for air distribution within the gallery.
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Brusa, Enrica, and Chiara Stanga. "Architettura fortificata tra conservazione e riuso: i progetti di restauro novecenteschi del forte di Castelfranco a Finale Ligure." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11501.
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Fortified architecture between preservation and reuse strategies: the twentieth century restoration projects of Castelfranco in Finale LigureThe town of Finale Ligure, situated on the western coast of Liguria, was the site of the Del Carretto Marquisate until the sixteenth century. After that, it was under the control of the Spanish Crown (seventeenth century) and it has been an independent territory of the Republic of Genoa for a long time. The three castles were built on the top of Finale hills and they were the symbol of its independence. Gavone castle, established on the top of the historical town, has been the site of the Marquisate since the twelfth century. S. Giovanni castle was built by the Spanish in order to improve the town defensive system in the second half of the seventeenth century. Castelfranco, built by the Genoese in the fourteenth century, was rehashed many times by the Spanish and in the nineteenth century by the Savoia family. The three castles still recall these historical events and are therefore witnesses of the Finale present and past history. They are the result of the different transformations occurred over the centuries. In recent times, Castelfranco has been opened to the public and today it houses art exhibitions and cultural events. The restoration of the castle is the last step of a long-lasting rehabilitation project history that has been developed since the 1900s, when the Municipality suggested to turn it into a hotel. The article analyses the restoration projects of Castelfranco that have been carried out in the first half of the twentieth century, which had different methodologies and approaches. Though this study the article highlights the perception that the town had about the castle, identifying the changes in the balance between reuse and conservation strategies after the first Italian preservation laws.
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Braden, Paul, and Kaitlyn Gainer. "Application of the Shape Memory Effect to Restore Smoothness." In ASME 2015 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/smasis2015-8827.
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A major worldwide industry is the display and preservation of historical and rare documents, paintings, canvases, tapestries and other works of art. Many private collectors and museums pay large amounts, such as the $23 million for the U.S. National Gallery and $8 million for the U.S. National Archives. There is an even greater demand for many consumers who desire an affordable way to safely maintain their images in top condition for viewing and enjoyment. Another industry where the smoothness of the paper documents is important is in the shipping and delivery business. Here, many shipments are done with cylindrical tubes that cause the paper to appear bent and not flat. In some cases, this can pose a major problem for scanning and electronic devices which need a flat surface for optimal performance. A novel new alternative to traditional conservation methods is the use of Shape Memory Alloys (SMA’s) to remove wrinkles and other surface anomalies. SMA’s use a thermoelastic property called the Shape Memory Effect (SME) to recover large strains by phase transformation. In this process, the SMA is stretched until the polycrystalline microstructure is detwinned Martensite. Then, energy in the form of heat is applied to the SMA which causes the phase transformation to the more compact Austenite. Thus, a reverse method is the proposed solution for the complex problem faced by art preservation experts. Instead of using large clamps and having to wait for results, we demonstrate how embedded SMA wires in a robust picture frame can provide a continuous restorative force that maintains the picture’s smoothness. Using proper simple wiring from the SMA wires to the picture, it is possible to remove the strains in the paper and hold the picture to the proper smoothness long term. We provide experimental results and offer suggestions for the future use of SMA’s in this new field of art restoration.