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The Paintings Specialty Group (PSG) of the American Institute for Conservation of Historic and Artistic Works (AIC) welcomes you to the Paintings Conservation Wiki page. The Paintings Specialty Group was formed in 1980 and is composed of members from the United States and the international community and includes conservation professionals from historic sites, museums, private practice, and regional centers. The purpose of the PSG is to improve knowledge of all subjects relating to the conservation of paintings, to promote proficiency and skill in the practice of paintings conservation, and to disseminate related technical and professional information.
The goal of the PSG Paintings Conservation Wiki is to share information and to host articles and research on the broad range of materials and topics encountered in the conservation of paintings.The PSG wiki welcomes members' contributions, and encourages participation. Please visit the AIC-CC User Guidelines page for the history of the AIC Wiki and general guidelines, or see the PSG Wiki Contributor Guidelines and PSG Wiki FAQ for more specifics. Questions or ideas for new content on the PSG wiki should be directed to the PSG Wiki Chief Editor, Kari Rayner ([email protected]).
The wiki is structured according to the outline of existing and proposed chapters of the Painting Conservation Catalog (1998-present). The wiki is a growing, evolving source of information and, as such, the content, including sections of the extant Painting Conservation Catalog chapters, will continue to evolve on the wiki. The published chapters in their unaltered form are available for digital download through the AIC Online Store.
Although supported and monitored by the PSG, the information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described. This information is intended to be used by conservators, museum professionals, and members of the public for educational purposes only. It is not designed to substitute for the consultation of a trained conservator. To find a conservator, please visit AIC's Find a Conservator page.
Wiki Committee
Kari Rayner, Associate Conservator of Paintings, The J. Paul Getty Museum
Erin B. Stephenson, Paintings Conservator, Stephenson Art Conservation, Washington, D.C.
Claire Winfield, Paintings Conservator, New Orleans
Anne Schaffer, Paintings Conservator, AS Art Conservation, Baltimore, MD
Christine Gostowski, Paintings Conservator, Gostowski Conservation, Greater Chicago Area
Julie Ribits, Paintings Conservator, Eskenazi Museum of Art at Indiana University
Contents
- 1 Varnishes and Surface Coatings
- 2 Stretchers and Strainers
- 3 Inpainting
- 4 Filling
- 5 Paint Layer
- 6 Surface Issues
- 7 Fabric Supports: Structural Damage and Deformation Treatment
- 8 Wood Panel Supports
- 9 Transfers
- 10 Special Problems of Modern Paintings
- 11 Environmental Control
- 12 Other Painting Supports
- 13 Analytical Techniques
- 14 Framing/Backing/Glazing/Mounting
- 15 Documentation
- 16 Wall Paintings
- 17 Treatment Materials
Varnishes and Surface Coatings
Compiler: Wendy Samet
- Introduction
- Factors to Consider when Choosing a Varnish
- Traditional Artists' Varnishes
- The History of Synthetic Resin Varnishes
- Low Molecular Weight Varnishes
- Polymeric Varnishes
- Wax as a Surface Coating
- Additives
- Equipment
- General Application Techniques
- Special Considerations
- Solubility Test Description & Solvents Used in Solubility Tests
- Directory of Vendors
- Cumulative Bibliography
Stretchers and Strainers
Compiler: Barbara A. Buckley
Inpainting
Compiler: Catherine A. Metzger
Co-Compilers: Christopher Maines and Joanna Dunn
