Contents
Foreword
Introduction
I. History, Principles, and Theory
1. Understanding Structure, Changing Practice
2. Applied Mechanics and the Structural Treatment of Paintings on Canvas
3. To Treat or Not to Treat, That Is the Question: Structural Treatment of Canvas Paintings from a Danish Perspective
4. Lining at the National Maritime Museum and at the Courtauld Institute of Art: Past and Present
5. The Lining of Paintings on Canvas in Naples
6. Structural Conservation of Canvases in Russia from the 1960s to the Present: Evolution of Methods and Approaches
7. Sustainable Trajectories for Terminologies, Methods, and Materials in the Structural Treatment of Paintings on Fabric Supports
II. Present Practice
8. The Relining of Van Dyck’s Equestrian Portrait of Charles I
9. Demystifying Mist-Lining
10. Linking Past and Future: Forty Years a Liner in Italy
11. Customized Methodologies Developed to Solve Conservation Issues with Large Paintings on Canvas
12. Puvis de Chavannes’s Philosophy Mural: Tactics for the Reversal of a Beva 371b Marouflage Lining from an Aluminum Honeycomb Panel
13. Lining as a Last Resort for a Large-Format Canvas Painting of the Early Nineteenth Century
14. Structural Stabilization of Large Paintings on Canvas: A History of Approaches in the Kunsthistorisches Museum Vienna
III. Open Questions and Research
15. Canvas Complexity: The Life of a Complex Composite
16. A Novel Technique to Determine the Strength of Canvas and Its Correlation with the Degree of Cellulose Polymerization
17. Chronicles in Wax-Resin Lining: A Historic Look at Lining Practices and Their Effectual Legacy on Paintings in the Smithsonian American Art Museum Collection
18. Gacha Lining’s Treatment Viability: The Spanish and European Glue-Paste Adhesive Used since the Seventeenth Century
19. The Influence of Research and Innovative Development on Laboratory Practice in the Structural Treatment of Paintings over Four Decades
20. A Short History of Suction Tables
21. Mehra’s Eight Requirements for Linings, Revisited: Evaluation of Linings for Canvas Paintings—Then and Now
IV. Case Studies
22. Self-Portrait as Saint Catherine of Alexandria by Artemisia Gentileschi: A Recent Glue-Paste Relining Treatment at the National Gallery, London
23. Conserving the History and Fabric of the New Bedford Whaling Museum’s Grand Panorama of a Whaling Voyage ’Round the World
24. Working around The Hours: The Structural Treatment of a Twelve-Foot-Round Ceiling Painting by Edwin Austin Abbey
25. Issues with Congolese Paintings in Belgium’s Africa Museum: Condition Assessment and Research in Transparent Lining
26. Eighteenth-Century Canvases of Easel Painting from New Spain: The Case of the Apostolate Series of Atizapan, Mexico
V. The Adhesives Question
27. Nanocellulose and Multilayered Nanoparticles in Paintings Conservation: Introduction of New Materials for Canvas Consolidation and a Novel Multiscale Approach for Their Assessment
28. Reliable Adhesives in New Shape: Canvas Bonding with Self-Supporting Adhesive Meshes
29. The Thread-by-Thread Tear-Mending Method: New Insights into the Choice of Adhesives and Their Application
VI. Local Interventions and Collections
30. Targeted Strategies for Structural Treatments: The Law of the Instrument, Occam’s Razor, and Minimal Intervention
31. Weaving into Heiber: Further Treatment Steps for Tear Mending
32. Less Is More: Juxtaposing the History of Lining and Alternative Treatments as Found in the Neue Pinakothek and the Sammlung Schack in Munich
33. Conservation of Canvas Paintings at the Victoria and Albert Museum: Past, Present, and Future
34. The Traditional Colla Pasta Lining in the National Gallery in Rome: Examples and Early Evidence
35. The Impact of a Major Flood on Relined and Transferred Paintings from the Musée Girodet in Montargis, France, and the Conservation That Followed
36. Remedial Conservation of Canvas Paintings: Issues and Challenges Due to Previous Treatments
37. Low and Slow: The Role of Targeted Precision Heat Transfer and Innovative Flexible Mat Technology for New Methodologies in the Conservation of Paintings on Canvas
VII. Conserving Modern and Contemporary Art
38. The Structural Treatment of Modern and Contemporary Canvas Paintings: Changing Approaches and Considerations
39. Wax-Resin Extraction Traction on a Late Georges Braque Still Life
40. Local Treatments of Cupped Cracks in Contemporary Paintings and Their Appearance after Twenty-One Years
VIII. Posters
41. Waxing Historical: Preliminary Insights into Wax-Resin Lining Practices at the Brooklyn Museum
42. The Greenwich Conference on Comparative Lining Techniques, April 23, 24, and 25, 1974: Three Days That Changed Conservation
43. A Roman Technique of Open-Weave Canvas Lining
44. A Method for Remounting Lined Paintings Using Beva 371 Film
45. On Color Change in Seventeenth-Century Netherlandish Paintings after Wax-Resin Lining
46. Historical Canvases Deciphered: Five Case Studies
47. A System to Keep Paintings on Canvas at a Constant Tension during Conservation Treatment
48. Removing Beeswax Residues from the Structure of the Canvas with AEROSIL
49. Analysis of Evolon CR as a Poulticing Agent for Wax-Resin Lining Adhesives: Py-GCMS, BET, and SEM Analyses of Used Evolon CR Tissues
50. Various Recipes of Wax Resin for Lining Used in Japan and How the Recipe Affects Removal
51. An Insight into the Limits and Possibilities of the Biological, Chemical, and Mechanical Performance of Glue-Paste Lined Paintings
52. The Structural Treatment of Titian’s Rape of Europa: Extending the Life of a Two-Hundred-Year-Old Glue-Paste Lining
53. Relining The Menagerie van Prince Willem V
54. Evaluating Structural Treatment Options for an Untensioned Oil Painting on Canvas
55. Conservation and Restoration of The Crucifixion, an Eighteenth-Century Canvas Painting: Challenges of the Large-Scale Lining, Complicated Tear Repair, and Verification of the Authorship
56. An Approach to Conservation Treatment Options for Double-Sided Painted Canvases with Ritual Functions
57. The Challenges of Treating and Displaying Two-Sided Oil Paintings
58. Is Lining Inevitable? Tear Repair of a Seventeenth-Century Canvas on Its Original Strainer
59. Magnetic Systems as an Alternative to Traditional Methods for the Conservation-Restoration of Painted Canvas Supports: A Proposal of Minimal Intervention Protocols
60. Structural Conservation Issues with European Easel Paintings Housed in High-Humidity Regions Such as Mumbai, India
61. Termite Attack in a Humid Climate: How to Deal with Damaged Canvases; The Conservation of The Delhi Durbar (1903), a Case Study
62. Investigating Commercially Primed Contemporary Artist Canvases
63. Stabilization Processing of Canvas Paintings Damaged by Tsunami: Consideration of Blotter Washing to Acrylic Paintings on Cotton Canvas
Glossary
Bibliography