Search Results for “conservation” – The 91��Ƭ��

MA Conservation of Wall Paintings

Sadia Wahid — Fri, 16 Apr 2021 14:42:41 +0000

The 91��Ƭ�� is a leading centre for education and research in wall painting conservation. The 3-year practical MA in Conservation of Wall Paintings will prepare you for a professional career in a field that is inclusive, interdisciplinary and international. Applicants usually have a BA or equivalent degree in the humanities or the natural sciences. The course leads to a high degree of employment upon graduation in both private practice and institutions, with many 91��Ƭ�� alumni going on to make a major impact in the conservation of wall paintings and other aspects of cultural heritage through roles at leading organisations. These include the Getty Conservation Institute; International Council on Monuments and Sites (ICOMOS); ICCROM; and English Heritage.

Teaching focuses on evaluating the synergistic relationship between wall paintings, built heritage and the environment. Through a rigorous ethical and scientific framework, you will gain skills in passive, preventive and remedial conservation, and in professional practice. The MA degree offers extensive practical experience on wall painting sites, and on completion you will be able to design, evaluate and carry out conservation treatments. The course teaches the digital and organisational skills required to manage ambitious projects, both independently and in collaboration. It will equip you with critical evaluation and communication skills, so that you will be ready for a career in conservation, further conservation research, and beyond.

By the end of the course you will be able to:

Understand, advise on, and advocate for the significance of wall paintings you are invited to examine and conserve
Examine and assess the original and added materials on wall paintings and their support, and evaluate intervention implications
Identify mechanisms of deterioration through diagnostic investigations, scientific analysis and environmental monitoring, and recommend and implement appropriate preventive and passive measures
Design, test and carry out a holistic wall painting conservation programme with full awareness of ethical and technical considerations, the professional context and values
Produce full written reports, and graphic, scientific and photographic documentation
Propose and undertake an research project in the field of wall painting conservation

Find out more about the��department’s research.

Entry requirements

UK qualifications:��Students will normally have achieved a good 2.1 in a humanities or sciences Bachelor’s degree, considered to be an overall average 65% or above.

Overseas qualification:��Equivalent to a good 2.1 in a UK first degree (e.g. US applicants should have a cumulative GPA of 3.5 or above).

Interviews: The interview process consists of a personal interview before a board; tests of manual dexterity and colour vision; and a brief written test requiring comment on a variety of wall paintings.

English language requirements:��If your first language is not English, we require proof of English language proficiency –please see the��English Language Requirements page.

Other requirements:

Previous conservation experience is not required, though some understanding of the nature of wall painting conservation is desirable. Students must have normal colour vision.

Students who do not have a degree in science will need to complete and pass an online science course in the summer prior to beginning the MA. This will be delivered online by the 91��Ƭ��.

Programme structure

Year 1: The first year provides a practical and theoretical foundation in the principles, ethics and practice of conserving wall paintings. Students learn about the technology and history of wall paintings, how to understand and identify deterioration phenomena, and methods for recording and documenting wall paintings. The application of scientific methods and materials science are integrated throughout the theoretical and practical courses. Several of the modules have substantial practical components to provide familiarity with materials, equipment and software. Foundations lectures in History of Art examining art from across the globe are also offered in the first year. Fieldwork introduces methodologies for conservation interventions and develops practical and manual skills. Visits to see important wall paintings in historic sites and museums are integrated with formal teaching.

Year 2: Formal instruction concentrates on diagnosis and preventive conservation, on technical examination of wall paintings and their supporting structures, and on the theory and materials of advanced remedial conservation techniques. Materials science is integrated throughout theoretical and practical courses. Students will develop research skills and learn about project management and professional practice. A substantial period of fieldwork is carried out in the second year.

Year 3: The third year is devoted to field work and a dissertation research project on an original aspect of the conservation of wall paintings. The dissertation may be on any aspect of the materials and techniques of wall paintings or of the methods or materials used in their conservation.

Teaching and assessment

Teaching: Continuity in instruction and supervision is provided by members of the department of Conservation with additional supervision and teaching by established practitioners and leading international specialists. The various teaching methods and types of work required of the students relate to the objectives of each component of the programme and include lectures, seminars with student presentations, seminars, essays, and reports. Practical work takes place in the laboratory and on site. There are also regular meetings with your personal tutor to discuss progress and general issues, and to receive feedback after presentations.

Assessment: Both formal and informal mechanisms of assessment are used. Formal assessment comprises assessed coursework and practical work with written examinations and practical oral examinations. Informal, continuous assessment is based on didactic exercises—essays, seminars, revision questions, etc.—and supervision of practical work. Students must demonstrate competence in each of the subject areas in order to progress into the second year.

At the end of the first and second years, students sit written examinations on modules and viva voce examinations on their fieldwork.

Assessment of the third year is based on the examination of the dissertation, fieldwork and an oral examination. The final degree mark is calculated from the second and third year marks.

Fieldwork

The department’s fieldwork projects focus on conservation, research and teaching. A high supervisor-to-student ratio ensures that students benefit from an excellent level of supervision.

Current and past projects include:

· Longthorpe Tower, Peterborough (UK) A rare cycle of 14th-century domestic wall paintings (2019 – )

· Villa Imperiale, Pesaro (Italy) 16th-century wall paintings in a grand villa originally constructed for the Sforza family and updated by the Della Rovere family in the 16th century (2023 -)

· Nagaur Fort, Rajasthan (India) The 18th-century wall paintings decorating the Maharajah’s palaces (2005 – )

· Tamzhing Monastery, Bumthang (Bhutan) With schemes from the 16th to 20th centuries, those from the early 16th-century are thought to be the earliest surviving in the Kingdom (2012 – 2015)

· Church of the Dormition of the Virgin, Vardzia (Georgia) The late 12th-century wall paintings in the rock-cut monastery (2012 – 2015)

· Mogao Grottoes, Dunhuang (China) A site with over 500 painted cave temples dating from the 5th to 14th centuries (2006 – 2009)

· Monastery of Agios Ioannis Lampadistis, Kalopanayiotis (Cyprus) Paintings dating from the 13th to the 19th centuries (2007 – 2012)

· Crypt of the Grand Masters, St John’s Co-Cathedral, Valletta (Malta) 18th-century wall paintings by Niccolò Nasoni (2003 – 2012)

Further information on the department’s fieldwork activity can be found��here, on our research pages.

Resources

The Conservation Department is equipped with extensive scientific laboratories and state-of-the-art facilities for the analysis of paintings and wall paintings. Both portable and bench-top equipment at the department are available for teaching and research. The department houses major collections of easel painting samples, X-radiographs, wall painting fragments and wall painting samples from around the world. It also hosts the archive of the National Wall Paintings Survey, an invaluable resource which is currently in the process of being digitised.

Students benefit from access to a wide range of research facilities at both the institute and other parts of the University of London, as well as other major libraries nearby. Close collaboration with scientists and conservators in the national museums and heritage organisations offers further opportunities for training and research.

The department is closely linked with The Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation at the 91��Ƭ��, and the specialist collection of literature on Asian art. Both the Conservation Department and the Ho Centre periodically hold conferences and public lectures in association with the Research Forum and museums and other institutions from outside The 91��Ƭ��, and benefit from contributions by Visiting Conservators.

In recognition of the excellence of The 91��Ƭ��’s MA in Conservation of Wall Paintings, The J. Paul Getty Trust awarded a $5 million endowment to support scholarships and fieldwork.

Fees and funding

Tuition fees are available to view here.

Financial support for your studies:

91��Ƭ�� Institute of Art Scholarships: Scholarships are awarded on the basis of academic merit combined with financial need. The average postgraduate scholarship awarded in 2022/23 was £6,000. Applications are welcomed from Home, EU and Overseas students applying to or currently studying in 2023/24.

Alumni Loyalty Scheme: This scheme is open to any graduate of The 91��Ƭ�� Institute of Art admitted to a taught postgraduate programme of study. Recipients will receive a 10% loyalty discount off their tuition fee for the duration of the course.

Further information about grants, and bursaries to support you during your studies at The 91��Ƭ�� can be found here.

Please note students on this programme are not eligible for Master’s Loan by the UK government.

All the travel and accommodation costs for fieldwork are paid by the Department.

Careers and employability

The course is designed to produce graduates who are prepared for a professional career in the conservation of wall paintings, but also will equip you with highly transferable skills for a wide range of employment opportunities, or further academic study. As well as being equipped with a detailed knowledge and understanding of the conservation of wall paintings, our graduates will gain:

· The ability to communicate effectively orally and in writing

· Intellectual independence and maturity; self-discipline and self-direction

· Project management skills, through developing, conducting, and managing conservation and research projects independently

· Ability to work in a team, collaborate and share resources.

With these skills, 91��Ƭ�� graduates go on to work in a range of prominent heritage contexts such as Historic Royal Palaces, the National Trust, Historic England.

Support

To support you through the degree, we offer:

Wellbeing: We have a dedicated Wellbeing team, with counsellors and advisors.

Academic and practical skills: You will be offered consistent access to your personal tutor and the academic teaching staff. The small number of students allow us to create an exceptionally supportive environment.

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Summer University

Helen Higgins — Mon, 26 Apr 2021 11:16:32 +0000

APPLICATION UPDATE

–��Summer University | Art and Identity (online)
Still accepting applications. Applications will close when the programme is fill.

–��Summer University | Discover Art History (in-person at The 91��Ƭ��)
As of the initial deadline (6th May), we are only accepting applications for the waiting list.

Summer University at The 91��Ƭ�� provides the perfect opportunity for Year 12, state school, home educated, or college students to explore the exciting and dynamic subject, History of Art.

Whether you’ve never engaged with the subject before, or have always been curious about art history, Summer University enables attendees to learn from leading academics, explore current discourse in art history, and delve into collections of art.

In 2024, The 91��Ƭ�� will run two Summer Universities, one in-person (Discover Art History) and one online (Art and Identity). You can find more information about these Summer University programmes below.��

Summer University – Art and Identity (online)

Theme: Art and Identity
Dates: Monday 1st – Friday 5th July 2024
Times: Morning briefing (10-10:30am), Lunchtime Lecture (1-2pm) , evening seminar (5-6pm or 6-7pm)
Location: Online, via MSTeams

The theme for Summer University 2024 online is Art and Identity, exploring how identity can be examined, interpreted and explained through art.��

Supported by online resources, each day, you will explore a different Art History theme, from portraiture, to architecture, and public art. Live lunchtime lectures will be led by members of The 91��Ƭ�� community from departments including Curating, Conservation, and Prints & Drawings, while current PhD students at The 91��Ƭ�� will support daily live discussion classes between Summer University attendees.

This programme is designed for both students who are new to History of Art and students who are currently studying History of Art A-Level.��

‘I really enjoyed the programme. It was an enriching opportunity, which has ignited my quest of studying Art History at university.’

Summer University attendee.

Summer University – Discover Art History (in-person)

Theme: Cities
Dates: Tuesday 9th – Thursday 11th July 2024
Times: 10am – 3:30pm. Please note the programme is non-residential.
Location: In-person, at The 91��Ƭ�� Gallery (Somerset House)

Join us for Summer University in-person to take your first steps into the discipline of art history. From paintings and graffiti, to statues and architecture, visual culture is all around us. Art history gives us the skills to engage critically with our visual surroundings.

Over the three days of Summer University, you will join us at Somerset House where we will explore The 91��Ƭ�� collection, artworks local to the area, and the architecture of the surrounding buildings. ��You will develop your skills in visual analysis, critical thinking, and knowledge of the foundations of art history. The programme will��provide you with an insight into what it is like to be an undergraduate student at The 91��Ƭ�� studying History of Art. ��

This programme is reserved for students who are not studying History of Art A-Level.��

To be eligible students must:
– Live in the UK
– Be in Year 12 (or equivalent) as of September 2023
– Currently attending a state school or college, or home educated
– Have an interest and desire to explore History of Art��

We welcome all applications from students who meet the above criteria. We are particularly keen to welcome applications from students who meet our widening participation criteria. This includes, but is not limited to:��

Students who receive free school meals��
Students with care experience��
Students currently in, or who have been in care��
Students who are disabled��
Students who identify as Gypsy, Roma and Traveller��
Students who would be the first in their family to go to university��
Students who come from an area where it is unusual for people to go to university (this is defined by the government’s classification called ).
Students who come from an area within .

Applications will open on Wednesday 20th March and will close on Monday 6th May��2024.��

You are welcome to apply to one or both summer universities. Please note that our introductory ‘Discover Art History’ in-person summer university is reserved for students who are not studying History of Art A-Level. Students who currently study Art History can apply to Summer University – Art and Identity (online).

If you apply by the deadline , you will hear back W/B Monday 6th May 2024.��

This course is designed to give you:��

A better understanding of Art History as a discipline��
The opportunity to meet university lecturers, museum professionals, and current��students��
The opportunity to find out about The 91��Ƭ�� from current students and alumni, and what it’s like to study in London��
Space to think about whether this might be the right option for you��
The confidence and support to apply to The 91��Ƭ�� for your BA should you wish to do so��

For more information, please contact Jonathan, Widening Access Schools Officer.��

E-mail: education@courtauld.ac.uk

100% of attendees rated Summer University as Excellent or Very Good

90% of attendees said their visual analysis skills were hugely or greatly improved

80% of attendees said the Summer University significantly/quite a lot, increased their confidence in applying to university

(Summer University evaluation)

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The 91��Ƭ��’s Conservation Department launches new teaching and qualifications for autumn 2022

Sadia Wahid — Mon, 06 Sep 2021 11:21:50 +0000

The 91��Ƭ�� is extending its world-leading conservation teaching from autumn 2022, offering three newly developed curricula for three MA qualifications in Buddhist Art History and Conservation, Conservation of Wall Paintings and the Conservation of Easel Paintings.

The MA in Buddhist Art History and Conservation is a new 12-month programme, hosted at the Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation at The 91��Ƭ��. It aims to provide a comprehensive grounding in Buddhist art history and theoretical aspects of conservation. Taught by leading specialists in conservation and Buddhist art, the MA will address issues of art history preservation — through appreciation, continuing use and conservation — of the vast heritage of Buddhist art worldwide, drawing on key sites where The 91��Ƭ�� has been involved in conservation. Visits to collections and sites are central to the degree.

The updated MA in Conservation of Wall Paintings will be accepting applications for the first time in five years, and aims to ensure the improved care of wall paintings through providing appropriate education in their conservation. The three-year full-time course focuses on wall painting conservation through a rigorous ethical and scientific framework for the assessment of risk, and the impact of passive, preventive and remedial conservation treatments.

The MA in the Conservation of Easel Paintings is a new qualification replacing the previous Postgraduate Diploma. It is also a three-year full-time course, which prepares students for a professional career in easel painting conservation. The strong practical and intellectual focus of the degree is reflected in courses designed to build on knowledge, and to develop both practical and decision making skills underpinned by ethical, historical and scientific principles.

Following consultation with stakeholders and international advisors from museums and private practice, new curricula in Wall and Easel Paintings Conservation reflect progress in the profession; from the use of non-invasive imaging equipment for technical analysis, which is a particular strength of the Conservation Department, to the inclusion of core modules devoted to preventive conservation and collection care. Advanced Principles and Theory in modules introduce the latest research and approaches to the conservation of modern and contemporary works of art.

In addition to three taught programmes The 91��Ƭ�� also offers a PhD in Conservation, with graduates focusing on a range of subjects from the technical analysis of paintings from The 91��Ƭ��’s collections, to the management of the conservation of wall paintings in Ladakh.

Dr Austin Nevin, Head of Conservation at The 91��Ƭ��, says: “I’m delighted to be able to announce these new and updated programmes, which build on The 91��Ƭ��’s track record in training some of the leading art conservators. It’s particularly exciting to be able to relaunch the MA in Wall Paintings Conservation and the MA in Buddhist Art, as part of The 91��Ƭ��’s continued drive to globalise our teaching. All three conservation courses will offer graduates unique transdisciplinary teaching and grounding in the latest techniques and methodologies, ensuring our future graduates will be well placed to make their mark on an exciting field.”

Professor Deborah Swallow, Märit Rausing Director at The 91��Ƭ��, added: “Our Conservation department has been a vital part of The 91��Ƭ��’s work since our earliest years, with many experts in the field having passed through our doors. With these new qualifications, we hope to continue that tradition, whilst also expanding into new areas. We are particularly grateful to the Robert H. N. Ho Family Foundation for their support for the MA in Buddhist Art and the J. Paul Getty Trust for the support of the Wall Paintings Programme.”

The 91��Ƭ��’s Department of Conservation is one of the very few specialist centres for the training and research in fine art conservation and technical art, and dates back to the mid-1930s. In addition to specialist work on the collections displayed in The 91��Ƭ�� Gallery, recent 91��Ƭ�� conservation projects include sites in China, India and Bhutan, as well as collaborations with national bodies including the National Trust and English Heritage, the National Gallery, National Portrait Gallery, and Tate.

The 91��Ƭ�� has recently been awarded two grants totaling more than £2.2 million from the Arts & Humanities Research Council Capabilities for Collections Fund (CapCo) to upgrade critical scientific instrumentation for imaging and molecular analysis in the Conservation Department, and support the infrastructure development essential to further care of The 91��Ƭ��’s world-class collections. The grant has supported key areas, including equipment upgrades that underpin The 91��Ƭ��’s world-renowned art conservation research.

Applications for the Conservation courses from academic year 2022/23 will open in October 2021, and prospective students can find out more about each programme through Open Days taking place over the autumn and via The 91��Ƭ��’s website.

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The 91��Ƭ��’s Conservation Department launches new teaching and qualifications for autumn 2022

Sadia Wahid — Mon, 06 Sep 2021 11:21:25 +0000

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MA Conservation of Easel Paintings

Sadia Wahid — Fri, 16 Apr 2021 14:42:03 +0000

Overview

The MA in the Conservation of Easel Paintings is a 3-year full-time course which will prepare you for a professional career. Its interdisciplinary nature brings together art history, fine arts and the natural sciences. Applicants usually have a BA or equivalent degree in any of these subjects. The student body is international, with a yearly intake limited to six students, which makes the teacher-student ratio exceptionally high. The course leads to an exceptionally high degree of employment upon graduation, in both the most reputable institutions and private conservation studios in the world, such as the National Gallery, the Metropolitan Museum of Art, The Getty, the National Trust, and the Royal Collection. The strong practical and intellectual focus of the degree is reflected in courses designed to build on knowledge and to develop both practical and decision making skills underpinned by ethical and scientific principles.

After graduating you will have gained practical experience in a range of real easel paintings conservation and will be able to design, carry out and evaluate conservation treatments proficiently and independently. You will be able to interpret results from technical study and relate them to practice, and will be able to plan and develop original research relating to easel painting conservation. You will gain critical and communication skills that will equip you for diverse careers in conservation and beyond.

Find out more about the��department’s research

Entry requirements

UK qualifications: Successful applicants will normally hold a Bachelor’s degree in either Fine Art, History of Art, or in the Natural Sciences, and have achieved a good 2.1, considered to be an overall average 65% or above.

Overseas qualifications:��Equivalent to a good 2.1 in a UK first degree (e.g. US applicants should have a cumulative GPA of 3.5 or above).

Applications:��Please see ‘How to Apply‘ page for information.

Further information:��In your application, you will be asked questions relating to your knowledge and experience of those fields that are not your main area of study (fine art, history of art or science). Though we do not expect candidates to have deep knowledge of all three fields, a level of interest in them is essential, and evidence of aptitude in them at GCSE level can be beneficial. Equally, previous conservation experience is not required, though some understanding of the nature of paintings conservation is desirable.

Interviews: Around 20 applicants are selected for interview for six available places, plus a short waiting list. Interviews are held online. In addition to the interviews,��interviewees will be asked:��to complete a practical test to assess manual dexterity and colour matching;��to complete a��short online slide test to assess observational skills; to electronically submit a portfolio with a sample of��3-5��artworks they have��made,��in order to demonstrate manual dexterity and some aptitude for artistic practice; to complete a colour-blindness test since students must have normal colour vision. Further information will be provided on selection for interview.

Pre-Course Science: successful candidates who have accepted their place will be required to complete an online course in science fundamentals prior to commencement of the course.

English language requirements: If your first language is not English, we require proof of English language proficiency. If you are invited to the interview, it is recommended to submit your test results before the interview. If you are unable to do so, you will be asked to submit your test results no later than the acceptance deadline. Please see the English Language Requirements page.

Programme structure

Programme structure

The full-time, three-year programme is delivered through lectures, seminars and self-directed study, integrated with a significant proportion of problem-based learning through supervised studio-based activities including conservation treatments and technical study of easel paintings.

Year 1: This year focuses on the acquisition of foundation knowledge and the development and application of scientific methods. Courses focus on the theory, ethics and practice of conservation, technology and history of easel paintings, art history and technical study. Applied science is integrated throughout theoretical and practical courses. The teaching provides a foundation for understanding and identifying the condition and conservation requirements of easel paintings. Practical work in the studio forms a substantial part of each term, beginning with replica-making and the examination of easel paintings, and then introducing the application of principles and theory of conservation to practical conservation.

Year 2: The majority of time in the second year is devoted to practical work in the studio, with students becoming increasingly independent in carrying out conservation work. Lectures and workshops are devoted to preventive conservation and collections care with a monitoring exercise, and advanced principles and theory of conservation.

Year 3: The majority of the year is spent in the conservation studio undertaking practical conservation treatments. One third of the final year is devoted to an independent research project.

Teaching and assessment

Teaching: The teaching methods, modes of delivery and assessments vary according to the objectives of each course within the programme . There are a combination of lectures, seminars, practical studio sessions, workshops, and professional context visits to conservation studios and science departments, all undertaken in small classes of students. In addition, you have timetabled meetings with the tutors several times per term, both to discuss progress and general issues as well as to receive feedback after assessed work.

Throughout your degree, you will be taught by both the teaching staff of the department and professionals in the field, who bring a rich diversity of knowledge and experience to the class-room. Our faculty come from different backgrounds and are among the leading experts in their field. They have published important works about their areas of expertise and will engage you with their cutting-edge research.

Assessment: The course involves a variety of methods of assessment:

The range of assessment methods requires students to demonstrate skills through the production of coherent written, verbal and practical responses to the questions or problems set. Assessments include essays, written exams, coursework and presentations, culminating in a viva voce examination.

At The 91��Ƭ�� practical work on paintings in conservation studios accounts for the majority of the degree, which is reflected in both the credit structure and assessments. Each term you will give a presentation of studio work at “Work in Progress” meetings You will also complete written and photographic documentation for each painting you conserve, and sit a viva voce examination at the end of the course.

You will have to pass all modules in order to progress through the course.

Resources

The Conservation Department is equipped with extensive scientific laboratories and state-of-the-art facilities for the analysis of paintings and wall paintings. Both portable and bench-top equipment at the Department are available for teaching and research. The department houses major collections of easel painting samples, X-radiographs, wall painting fragments and wall painting samples from around the world, the archive of the Survey of Historic Wall Paintings in the British Isles.

Students benefit from access to a wide range of research facilities at both the Institute and other parts of the University of London, as well as other major libraries nearby. Close collaboration with scientists and conservators in the national museums and heritage organisations offers further opportunities for training and research.

The Department is also closely linked with��The Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation��at the 91��Ƭ��, and the specialist collection of literature on on Asian art. Both the Conservation Department and the Ho Centre periodically hold conferences and public lectures in association with the Research Forum and museums and other institutions from outside The 91��Ƭ��, and benefit from contributions by Visiting Conservators. The department also acts as a centre for conservation and art-historical advice to outside conservators, scholars and the public.

Fees and funding

Fees are available on our Fees & Funding pages.

Fees are subject to change each academic year. Fee information, including what qualifies as home, EU, and overseas fees, can be found here.

Financial support for your studies:

91��Ƭ�� Institute of Art Scholarships: Scholarships are awarded on the basis of academic merits. The average postgraduate scholarship is £6,000. Applications are welcomed from Home, EU and Overseas students. Find out more about our scholarships.

Alumni Loyalty Scheme:��This scheme is open to any graduate of The 91��Ƭ�� Institute of Art admitted to a taught postgraduate programme of study. Recipients will receive a 10% loyalty discount off their tuition fee for the duration of the course.

Further information about grants, and bursaries to support you during your studies at The 91��Ƭ�� can be found here.

Please note students on this programme are not eligible to apply for Master’s Loan by the UK government.

Careers and employability

The course is designed to produce graduates who are prepared for a professional career in the conservation of easel paintings, but also will equip you with highly transferable skills, which will prepare you for a wide range of employment opportunities, or further academic study. As well as being�� equipped with a detailed knowledge and understanding of the conservation of easel paintings, our graduates will gain:

The ability to communicate effectively orally and in writing
Intellectual independence and maturity; self-discipline and self-direction
Respect for the views of others
Project management through developing, conducting, and managing conservation and research projects independently
Ability to work in a team, collaborate and share resources

With these skills, 91��Ƭ�� graduates go on to jobs in the international art world, usually in private practice or in museums such as the National Gallery, the Metropolitan Museum of Art, The Getty, the National Trust, and the Royal Collection.

Support

To support you through the degree, we offer:

Wellbeing: We have a dedicated Wellbeing team, with counsellors and advisors.

Academic and Practical Skills: You will be offered consistent access to your personal tutor and the rest of the academic teaching staff. The small number of students allow us to create an exceptionally supportive environment.

MA Conservation of Easel Painting Virtual Open Day

91��Ƭ��ing at The 91��Ƭ�� 2023/24: an overview

Image gallery

Meet our students

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Painting Pairs 2023 – 24: Collaborative Research in Conservation and Art History

Diego Arteche — Wed, 24 Apr 2024 09:49:43 +0000

Painting Pairs: Art History and Technical 91��Ƭ��’ is a research opportunity for graduate students enrolled in the MA in the History of Art, MA in Curating the Art Museum and the PhD programme. It is supported by the Research Forum, the 91��Ƭ�� Gallery and the Department of Conservation. ��Selected students are given the opportunity to form a research partnership with future conservators from the postgraduate diploma in the Conservation of Easel Paintings

Each pairing explores the contribution technical study can make to art historical scholarship (and vice versa) through research on a painting undergoing analysis or treatment in the Department of Conservation and Technology. The paintings are drawn from private and public collections, including the 91��Ƭ�� Gallery.

In this second presentation, the pairs will each report on their technical and art historical examination in a 15-20 minute presentation, with time for questions.

2023 – 24 Participants and paintings��

Nitzan Band and Jessica Raja-Brown, Bearded Man with a Falcon,��91��Ƭ�� Gallery

Grace Storey and Sarah Brokenborough, Mary Queen of Scots, Royal Collection Trust

Christina O’Brien and Ana Maria Delmar, Portrait of Stephanie Pilkington 1919,��Private Collection

Victoria Ward and Tiffany Foster, Childbirth Scene,��Private Collection

Sakeenah Montanaro and Bianca Arthur-Hull, Portrait of a Lady, Parham House

Organised by Professor Aviva Burnstock (The 91��Ƭ��), Pippa Balch (The 91��Ƭ��) and Dr Karen Serres (The 91��Ƭ��).

Bearded Man with a Falcon, 91��Ƭ�� Gallery

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Professor Austin Nevin

Austin Nevin — Tue, 15 Sep 2020 11:33:42 +0000

I am the Head of the Department of Conservation, that unites Easel Painting and Wall Painting Conservation with transdisplinary research on preventive conservation, technical art history, conservation science and conservation practice. My research focuses on the conservation and analysis of paintings, ancient and modern art on walls, easels and on paper and ranges from��to the analysis of��and the analysis of red pigments from��. Recent research also identified egg binders in��, the second oldest example of organic binding media in western paintings.

I am a conservator and conservation scientist. Prior to joining The 91��Ƭ�� I coordinated the MA degree in conservation at the University of Gothenburg and taught at the Accademia di Brera in Milan. Between��2011-2019��I was a Researcher at the Istituto di Fotonica e Nanotecnologie (IFN) in Milan, part of the Italian National Research Council. I completed post doctoral research at the Department of Physics at the Politecnico di Milano on applications of time resolved fluorescence spectroscopy to cultural heritage, and at The 91��Ƭ�� as an Andrew W. Mellon Fellow, where I led the��. Between��2004-2007��I was a Marie Curie Early Stage Research Fellow at the Foundation for Research and Technology (IESL-FORTH) in Greece.

Following a degree in Chemistry from the University of Oxford (2001), I obtained an MA in the Conservation of Wall Painting (2004) and a PhD at The 91��Ƭ�� (2008). My training at The 91��Ƭ�� has been the foundation for my vision that is inclusive and international, and based on shared values, scientific research and conservation practice.

I am a Vice President and Fellow of the��and have chaired the Technical Committees for the Edinburgh (2020), Turin (2018), Los Angeles (2016) and Hong Kong (2014) Congresses. I also served as the Coordinator of the Scientific Research working group of ICOM-CC from��2011-2014,��and currently am on the Conseil Scientifique of the La Maison des Sciences de l’Homme et de la Société Sud-Est (France). I am an Editor of��and of the��

Research Interests

Conservation and Heritage Science: applications of spectroscopy for the analysis of molecular materials in paintings and tracking degradation of pigments and polymers, from kermes lakes in Italian wall paintings to cadmium sulphide degradation in modern art
Pigment synthesis and chemistry: historical recipes and trace impurities
Digital humanities: linking conservation documentation and results from technical analysis for interdisciplinary research, from dispersed altarpieces to comparative technical study
Conservation practice: critical assessment of wall painting conservation in Sweden (funded by the Swedish National Heritage Board)

PhD Supervision

Current supervision

Y. Hahn,��Buddhist Temple Wall Paintings in South Korea: a Conservation Assessment,��supervised with Anthony Eastmond

J. Porter,��Organic materials in wall paintings: cultural practice, analysis and deterioration��(provisional title)��co-supervised with JoAnn Cassar, University of Malta

Completed PhD Supervision

R. De Angelis,��The Technology of Baroque Oil-Based Wall Paintings in Malta: Materials and Implications for Conservation supervised with JoAnn Cassar, University of Malta

A. Källbom,��Painting Treatments of Weather Exposed Ferrous Heritage. Guidance Principles and Working Procedures Considering Material Characteristics and Craft Skills of Linseed Oils and Paints��supervised with Gunnar Almevik and Maria Brunskog University of Gothenburg, 2021

E. Angelin,��The fate of colours in 20th-21st centuries: preserving the organic colorants in plastic artefacts (provisional title) supervised with Maria Joao Melo and Marcello Piccolo, Universidade NOVA de Lisboa, 2021

Major Grants

GoGreen:Green Strategies to Conserve the Past and Preserve the Future of Cultural Heritage, ERC Horizion 2022 Project 2022-2026, coordinated by the Univeristy of Amsterdam
National Wall Painting Intitiave funded by the Paul Mellon Centre for British Art and the Pilgrim Trust
AHRC Capability for Collections Fund for the upgrading of scientific instrumentation in Conservation at The 91��Ƭ��, £1M
Swedish National Heritage Board (RAA):��2020-2021
Grant for collaborative research between the Italian National Research Council and the Chinese Academy of Cultural Heritage��2015-2018
Bilateral grant for collaborative research between Italy and the USA with the Metropolitan Museum of Art, from the Italian Ministry of Foreign Affairs��2014-2016
Italian Ministry of Education – Futuro in Ricerca:��2013-2016

Recent Publications

Mariateresa Pullano, Victoria Skalleberg, Eva Nygårds & Austin Nevin.��Pierre Bonnard’s Oil on Cardboard: A Comparative 91��Ƭ�� of Two Paintings at the Gothenburg Museum of Art,��Journal of Paper Conservation (2023) ,��https://doi.org/
Gomez Lobon, M., Ghirardello, M., Juncosa Darder, E.��et al.��A study of cadmium yellow paints from Joan Miró’s paintings and studio materials preserved at the Fundació Miró Mallorca.��Herit Sci��11, 145 (2023).
Tong, Y., Cai, Y., Nevin, A.��et al.��Digital technology virtual restoration of the colours and textures of polychrome Bodhidharma statue from the Lingyan Temple, Shandong, China.��Herit Sci��11, 12 (2023).
Marta Ghirardello��and others, Application of Synchrotron Radiation-Based Micro-Analysis on Cadmium Yellows in Pablo Picasso’s��Femme,��Microscopy and Microanalysis, Volume 28, Issue 5, 1 October 2022, Pages 1504–1513,��

Publications in preparation

Molecular Luminescence in Cultural Heritage,��edited by M. J. Melo, A. Romani, D. Comelli and A. Nevin, Springer Series on Fluorescence, 2022

Editorial boards

Studies in Conservation, Springer Cultural Heritage Science

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Maureen Cross

Maureen Cross — Sat, 21 Feb 2015 11:56:20 +0000

Maureen was appointed in 2005 as a full-time lecturer in the conservation department. She has a joint BA Hons. in Sociology and Economics from Michigan State University and a BA Hons. in the History of Art from Hunter College: City University of New York. She worked in the curatorial department at the Brooklyn Museum of Art, before undertaking conservation fellowships at the Metropolitan Museum of Art, and Cooper Hewitt National Design Museum-Smithsonian Institution as well as work in private conservation studios in New York City. In 1996 she moved to the UK to study easel paintings conservation at the University of Northumbria, Newcastle, completing her MA with Distinction in 1998. She has since worked as a professional conservator at National Museums of Liverpool, Manchester Galleries, Tate before joining the 91��Ƭ��. Maureen became a Senior Lecturer in 2019.

Teaching 2020-21

MA in the Conservation of Easel Paintings

History of Artists Materials and Techniques
Modern and Contemporary Paintings Conservation
History and Practice of Written and Photographic Documentation
Practical Paintings Techniques for Replicas
Practical Conservation and Restoration of Easel Paintings
Physical History of Works of Art for Curators

Research interests

Materials and techniques of modern and contemporary artists.

Applied conservation research for treatment solutions

Recent publications

Books and chapters in books

Horovitz, Isabel, ��Cross, Maureen, Ormsby, Bronwyn et al., ‘History and Use of Other Rigid Supports for Easel Paintings from Early Renaissance to 20th Century,’ in The Conservation of Easel Paintings. ed. J. Hill-Stoner and R. Rushfield; Butterworths-Elsevier, London (2012) Total pages in book 889; Chapter pages 51-115 (Pages of contribution 103-110)
Sims, Shelley, Cross, Maureen and Smithen, Patricia, ‘Acrylic Retouching’, in Mixing and Matching: Approaches to Retouching Paintings, Archetype Books, London (2010) Total pages in book 179; Chapter pages 163-179

Essays, articles and conference proceedings

Polkownik, Camille, Richardson Clare, Cross, Maureen, Maisey,��Sarah, ‘Lining at the National Maritime Museum and at the 91��Ƭ�� Institute of Art: Past and Present,’ Contribution to the Conserving Canvas Conference, 14-17 October, Yale University & Art Gallery, ed. Schwarz et.al., Yale University and Getty Foundation Press, (2023) 1:4
Burnstock, Aviva, Cross, Maureen, Serres Karen, ‘Goya’s Portrait of Francisco de Saavedra: Materials, Techniques, Conservation and Context, �ձ𳦳��è, No 53, (2022), 40-47
Amato, Silvia R., Cross, Maureen, et al, ‘Examining Edouard Manet’s Le Dejeuner sur l’herbe from the 91��Ƭ�� Gallery using spectral imaging techniques’, in Tales of the Unexpected in Paintings Conservation, Contribution to British Association of Picture Conservator/Restorers Conference, BAPCR, 31 January 2020, Archetype Publications, London (2020) 98-110
Diamond, Olympia, Barkovic, Margaret, Cross, Maureen, Ormsby, Bronwyn, ‘Pioneering Solutions: Treating Water Stains on Acrylic Paintings | Case 91��Ƭ��Composition,��1963 by Justin Knowles’,��Treatment 2017: Innovation in Conservation and Collection Care, Journal of the American Institute for Conservation, Vol 58 (3) (Spring 2019) pp 144-157
Amato S.R., Burnstock A., Cross M., Janssens K., Rosi F., Cartechini L., Fontana R., Dal Fovo A., Paolantoni M., Grazia C., Romani A., Michelin A., Andraud C., Tournié A., Dik J., ‘Interpreting technical evidence from spectral imaging of paintings by Edouard Manet in the 91��Ƭ�� Gallery’,��X-Ray Spectrometry��48, no.4 (2019): 282-292. DOI:��.
Barkovic, Margaret, Diamond, Olympia, Cross, Maureen,��‘The Use of Agar Gel on Water-Stained Acrylic Canvases’, in��Gels in Conservation, Contributions to the IPA/Tate Conference,��16-18 October, Archetype Publications, London (2017)��51-55
Burnstock, Aviva, Cross, Maureen, Serres, Karen, ‘Insoluble Surface Spots, Metal Soaps and Challenges in the Conservation of Goya’s Portrait of Francisco de Saavedra, Contributions to ICOM-CC 18^th Triennial Conference, 4-8 September, Copenhagen, Denmark: Preprints ed. J. Bridgland, art. (2017) 1301. 1-7
Rutka, Fiona and Cross, Maureen, ‘The Making of Fiona Rae, RA: In Conversation with a Young British Artist’,��Immediations��3, (3) (2014)
Pearson, Harriet, Cross, Maureen and Barker, R., ‘Protecting Impermanence: a preliminary investigation into the care of temporary artworks’,��Immediations��3, (1) (2012)
Brummitt, Sophie and Maureen Cross, ‘”A Painter of ‘Strong and Good Likenesses” 91��Ƭ��ing some Gilbert Stuart portraits from Saltram House’,��National Trust: Arts Building Collections Bulletin, Autumn Issue (October 2011) 14
Ormsby, Bronwyn, Maureen Cross, Elli Kampasakali, Lise Chantrier-Aasen, Patricia Smithen, ‘An Evaluation of Artists’ and Conservation Varnishes for Acrylic Emulsion Paint Films.’ in��ICOM-CC 16th Triennial Conference, Lisbon, Portugal, 19-23 September 2011: Preprints, Mng.��ed. Janet Bridgland, International Committee of Museums, Paris��(2011) 1-11
Cross, Maureen, Sophie Brummitt, ‘Gilbert Stuart In Britain (1775-1787): A Technical 91��Ƭ�� of Selected Work from Saltram House, National Trust Property, Devon,’��Journal of the American Institute for Conservation, 51 (2) (Fall/Winter��2011) 87-104
Tate-Harte, Alice, Chantal-Helen Thuer and Maureen Cross, ‘Materials Focus: Funori: A New Medium for Consolidation and Retouching’,��The Picture Restorer��36 (Spring��2010) 13-14
Cross, Maureen, ‘Complexities of a Woman in a Courtyard (1933)’, in��Modern Paints Uncovered, Contributions to the Modern Paint Uncovered Symposium, 16-19 May 2006, ed .T. Learner, P. Smithen, J. Krueger and M. Schilling, The Getty Conservation Institute, Los Angeles��(2007) 276
Cross, Maureen and Sarah Skinner, ‘Restoring Spontaneity: Conserving Duncan Grant’s ‘Caryatid’ from the Collection of Manchester City Galleries’,��Cr: Interdisciplinair Vakblad voor Conservering en Restauratie��(2004) 18-27
Cross, Maureen and Kathleen Flynn, ‘From Sausage Rolls to Sushi and Back Again: Lessons for successful travelling block-buster loans’,��The Paper Conservator, 27 (Autumn��2003) 59-68
Cross, Maureen, et al., ‘From Fireplace to Fine Art – The Conservation of Duncan Grant’s Collage, Caryatid’, in��IIC Works of Art on Paper: Books, Documents and Photographs, Techniques and Conservation. Baltimore Congress, Baltimore, Maryland, USA, 2-6 September 2002, ed. V. Daniels, A. Donnithorne and P. Smith, International Institute of Conservation, London (2002)
Bennett, Richard, Maureen, Cross and Joseph Padfield, ‘Conference Review, Under Pressure’, University of Northumbria, 7-11 April 1997,��The Picture Restorer, 12 (Autumn��1997) 21-24

Lectures and conference presentations

‘Minimalism in context: the 91��Ƭ�� Institute of Art and the Royal Museums Greenwich,’ AIC 50th Annual Conference 13-18 May, Los Angeles, CA, USA (2022)
‘Lining at the National Maritime Museum and at the 91��Ƭ�� Institute of Art: Past and Present,’ Conserving Canvas Conference, 14-17 October Yale University, New Haven, CT (2019)
‘The Use of Agar Gel on Water-Stained Acrylic Canvases’, in��Gels in Conservation, IPA/Tate Conference,��16-18 October, London, UK, (2017)
‘Insoluble Surface Spots, Metal Soaps and Challenges in the Conservation of Goya’s Portrait of Francisco de Saavedra, ICOM-CC 18^th Triennial Conference, 4-8 September, Copenhagen, Denmark (2017)
‘Condition Assessment and Documentation: An Overview, Contributions to The Basics of Artist’s Estates organised by The Institute of Artist’s Estates, 9-10 October, London, UK (2017)
‘A Technical 91��Ƭ�� of the 91��Ƭ�� Gallery’s Le Déjeuner sur l’herbe using Macroscopic X-ray Fluorescence Spectroscopy to Provide New Insights into Manet’s Painting Practice’, Contributions to Writing Impressionism Into and Out of Art History, 1874 to Today conference, 3-4 November, London, UK (2017)
‘Gilbert Stuart Across the Atlantic’,��Lunder Conservation Center: Conversations with Conservators, Smithsonian American Art Museum, 23 July, Washington, DC, USA (2013)
‘An evaluation of artists’ and conservation varnishes for acrylic emulsion paint films.’ ICOM-CC 16th Triennial Conference, 19-23 September, Lisbon, Portugal ��(2011)
‘Frederick Pickersgill’s Samson Betrayed: A Conversation with Paintings Conservation’. Manchester Art Galleries, 24 June, Manchester, UK (2003).
‘A Preliminary 91��Ƭ�� of the Tensile Properties of a Degraded Natural Linen Canvas with a View Towards Determining a Lining Programme’. The 16th Gerry Hedley Student Symposium, 29 May, Queens College, Cambridge (Hamilton Kerr Institute), UK (1998).

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Sreekumar Menon

Sreekumar Menon — Tue, 15 Sep 2015 08:57:54 +0000

Thesis:��Early Period Buddhist Wall Paintings Of Ladakh From The 11th To Early 13th Century: Materials, Techniques & Conservation Implications

Supervised by Professor Aviva Burnstock and Emily Howe

Funded by��

Ladakh, in the Western Himalayas, has been and remains a significant centre of Tibetan Buddhism. This region of India is marked by numerous Buddhist monasteries, temples and chortens, many of which are adorned with stunning wall paintings. The development of Tibetan Buddhism in the region is ascribed to the tenth to twelfth century CE following the ‘second propagation’ of Buddhism in Tibet. Manuscripts, sculptures and wall paintings flourished under the patronage of western Tibetan kingdom and that of Lotsawa�� Rinchen Zangpo (958-1056), the ‘Great Translator’ of Sanskrit Buddhist texts. Rinchen Zangpo inspired the�� foundation of several temples and monasteries across Ladakh during his lifetime and is also credited for bringing in artists from neighbouring Kashmir, thus infusing a new artistic tradition inspired by contemporaneous Kashmiri art, a characteristic of the ‘early period’ temples through the eleventh to early thirteenth century.

Recent publications on early period Buddhist wall paintings in Ladakh focus mainly on iconography, style and other art historical matters, but painting materials and technologies remain virtually unstudied. Many wall painting conservation projects are currently ongoing in Ladakh. Knowledge of original materials is one of the cornerstones of conservation and while great efforts have been made to allocate resources to such investigations��the paucity of technical data on early Buddhist wall paintings in Ladakh is largely unaddressed. Such lack of knowledge seriously hampers the understanding of deterioration mechanisms and the assessment of the suitability of conservation approaches and materials.

It is hence proposed to carry out a systematic study of ‘early period’ wall paintings executed between eleventh and early thirteenth century in the Ladakh region. The aim is to identify their materials and technology from their support to earthen-based plaster layers, to paint layers and final glazes, and to shed light on similarities, developments and differences throughout the period studied. The proposed research seeks to apply scientific methods to contribute to a better understanding of the technique and variation in technique of wall paintings and to begin to better understand their inherent susceptibility to deterioration and implications in terms of conservation issues and approaches.

Major sites in Ladakh being focused in the current research include temples at Nyarma (near Thikse), Zangla (Malakartse Chorten), Tragkhung Kowache, Mangyu, Sumda Chun, Sumda Chenmo, Skiu and Alchi. Extensive studies are being carried out on all these sites, some of which are difficult to access and not well known. Investigations at some sites led to the discovery of paint layers that were concealed and never documented. Sophisticated instrumental analysis carried out on selected samples revealed valuable information that will add on to the history of painting in the region.

Education

M.A. Conservation & Restoration of Works of Art��(2001) –��, New Delhi
B.Sc Physics��(1995) –��University of Calicut, Kerala

Research interests

Painting technique
Buddhist Art
Wall painting conservation
Conservation Science

Publications

Pinto, M.; M.S. Gill; M. Georgakopoulou; and��Menon, S. (2018). ‘’,��Journal of Archaeological Science: Reports, 21, pp. 259–267. doi: 10.1016/j.jasrep.2018.07.016.
Gill, M. S.;��Menon, S; Mohanty, P. P.��(2016).�� ‘‘��Conservation of Cultural Property in India, Vol. 41, 62-71, Indian Association for the 91��Ƭ�� of Conservation of Cultural Property, New Delhi.
Gill, M. S., Priego Rendo, C. and Menon, S. (2014) ‘.’,��Studies in conservation. Maney Publishing, 59(5), pp. 300–313.
Fonjaudran, C. M,��Menon, S., & Gill, M. S. (2013), Sumda Chun and other early Buddhist wall painting in Ladakh: Practical and ethical conservation issues from failing structures to obscuring surface layers. In D. Park, K. Wangmo, & S. Cather (Eds.),��.
Fonjaudran, C. M., Tringham, S., Bogin, S.,��Menon, S., and Jasol, K.S. (2011), ‘‘ ICOM-CC, Lisbon..
Menon, S. and Gill, M.S. (2011), ‘‘, Conservation of Cultural Property in India, Vol. 39, 26-32, Indian Association for the 91��Ƭ�� of Conservation of Cultural Property, New Delhi.
Menon, S., Gill, M. S. Verhave, J and Blok, V. (2008), ‘‘, Fifteenth Triennial Conference, New Delhi, 22-26 September 2001, ICOM-CC, NewDelhi.
Gill, M.S and��Menon, S.��(2008),��‘‘, Asian Regional Cooperation Conference, 9-17, INTACH, New Delhi

Membership

��(IIC)
��(ICOM)
��(IASC)
��(IALS)

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Professor Aviva Burnstock

Aviva Burnstock — Sat, 21 Feb 2015 11:43:18 +0000

Aviva Burnstock is a Professor of�� Conservation at The 91��Ƭ�� Institute of Art, where she took a PhD (1991) and a Diploma in the Conservation of Easel Paintings (1984). From 1986-1992 she worked in the Scientific Department of the National Gallery, London after a year as a paintings conservator in Australia with the Regional Galleries Association of New South Wales. Her first degree is in Neurobiology (BSc University of Sussex 1981). She was awarded the first Joop Los Fellowship at the Institute for Molecular Physics (AMOLF /FOM) Amsterdam in 2003, and is a Fellow of the International Institute for Conservation (IIC).

Aviva’s research interests include investigation of the materials and techniques used for painting; and characterisation of visual and material changes; the application of new methods for technical study; evaluating methods for conservation practice (for example methods for cleaning paintings); focus on the deterioration and conservation issues for modern oil paint and paintings.

Teaching 2020-21

The PG Diploma in the conservation of easel paintings
BA History of Art Year 1: Physical History of works of art
Graduate Diploma in History of Art:��Physical History of works of art

PhD Supervision

Current

Silvia Amato:��Combined Scanning Multispectral Infrared Reflectography and Macro-X-ray Fluorescence: an innovative approach to the study of materials and technique of five paintings by Édouard Manet at the 91��Ƭ�� Gallery
Patricia Smithen��(from October 2015) CDP Tate, Preliminary title: The production and use of acrylic paints in Britain, co supervised with Dr Bronwyn Ormsby, Tate.
PhD Amarili Rava:Consolidation of earthen supports in wall paintings (with Emma Richardson, UCL from 2018)
Sreekumar Menon:��A technical study of Wall paintings in Ladahk (from 2019)

Recently completed

Rachel Mustalish��‘Materials and meaning: works on paper by Arthur Dove’
Alexandra Gent (from October 2015) Repetition and Replication in Sir Joshua Reynolds’s Studio Practice, co supervised with Prof David Solkin (CHASE funded).
Emilie Froment (University of Amsterdam, co supervised with Professor Jorgen Wadum) ‘The effects of wax resin lining on seventeenth century paintings in the Royal Palace, Amsterdam’
D Judith Lee (from September 2013) CDP/AHRC (with Tate, co supervised with Bronwyn Ormsby) Modern British Oils: history, formulation and use. Viva set for March 7^th��2018

PG Diploma final year research projects

Christine Wilder ��(2021):��Exploring the potential of ��Fluorescence lifetime imaging spectroscopy (FLIMS) for characterisation of picture varnishes

Rebecca Chipkin (2021):��Application of micro CT scanning for dendrochronology of panel paintings

Research interests

Technical study of paintings
Artists materials and techniques
Investigating visual and material change in works of art
Developing and evaluation of methods for conservation of paintings

Forthcoming publications

Publications in preparation

Modigliani’s Nudes materials and techniques Tate Papers, co authors Lena Stringari, Isabelle Duvernois, Michael Duffy, Barbara Buckley,�� to be submitted April 2020.

Modigliani’s Nudes,��leading author (Tate Papers, draft now with editors Simonetta Fraquelli and Nancy Ireson) to submit final paper in December 2020 (delayed from April due to Covid).

A History of the Department of Conservation & Technology��1934-2020, co-authored with Roxanne Sperber; two substantial papers for��Studies in Conservation. Draft of the first paper covering��1934-1976��is completed, second in progress planned for submission of both papers in December 2020.

A Chapter on The role of technical study and chemical analysis on questions of attribution and dating of paintings and on easel painting conservation practice: Selected case studies

Springer Nature book series edited by Perla Colombini and Austin Nevin, to be submitted by the end of November 2020.

A Chapter on Diagnostics, education of painting conservators and decision making in painting conservation

Conservation 360, DIAGNOSIS BEFORE, DURING, AFTER,��A. Murray, L Fuster and A Vila eds.��(draft submitted August 2020)

Two collaborative papers now submitted for peer review:

Submitted to Studies in Conservation: The characterisation of oil bound copper green glazes in a 17^th��Century harpsichord lid,�� Waldron K, Burnstock A, van den Berg KJ, van Eikema Hommes M,�� Megans L, van Keulen H and de Groot, S.

Submitted to the Journal of the American Society for Mass Spectrometry: Surface acoustic wave nebulization mass spectrometry (SAWN-MS) as a new tool to investigate the water sensitivity of 20th Century oil paints,��Astefanae, A, van den Berg, KJ, Burnstock A, Corthals G.

Now published

Burnstock A, and MacDougall S, What Lies Beneath: Technical Discoveries, Intention and Practice in the early Work of Mark Gertler, Tales of the Unexpected in paintings Conservation, Mary Kempski, Jo Kirby, Victoria Leanse, Kristina Mandy Eds, Archetype publns��(2020) p131-137.

Aviva Burnstock, Sarah MacDougall, “Signs of a Struggle: Process, Technique, and Materials in the Early Work of Mark Gertler, 1911–18”, British Art Studies, Issue 15, https://doi.org/10.17658/issn.2058-5462/issue-15/burnstock-macdougall

Conservation of Modern Oil Paintings, van den Berg, K.J., Bonaduce, I., Burnstock, A., Ormsby, B., Scharff, M., Carlyle, L., Heydenreich, G., Keune, K. (Eds.), Springer (2019) ISBN��978-3-030-19254-9

Pieter Bruegel the Elder’s grisaille paintings, Aviva Burnstock and Karen Serres in�� Bruegel, Hand of the Master, essays in context, Hannibal�� publ)�� p.82-85,�� 2019.

Conservation issues of modern oil paintings: a molecular model on paint curing.��Ilaria Bonaduce, Celia Duce, Anna Lluveras-Tenorio, Judith Lee, Bronwyn Ormsby, Aviva Burnstock and Klaas Jan van den Berg, American Chemical Society_{.��}Acc. Chem. Research DOI10.1021/acs.accounts.9b00296 A-J. 2019

Ilaria Bonaduce, Celia Duce, Anna Lluveras-Tenorio, Judith Lee, Bronwyn Ormsby, Aviva Burnstock and Klaas Jan van den Berg, American Chemical Society_{.��}Acc. Chem. Research DOI10.1021/acs.accounts.9b00296 A-J. 2019

Burnstock A. (2019) Taking Different Forms: Metal Soaps in Paintings, Diagnosis of Condition, and Issues for Treatment.

Higgs S., Burnstock A. (2019) An Investigation into Metal Ions in Varnish Coatings.

In: Casadio F. et al. (eds) Metal Soaps in Art. Cultural Heritage Science. Springer, Cham

Print ISBN 978-3-319-90616-4

Online ISBN 978-3-319-90617-1

Amato S.R., Burnstock A., Cross M., Janssens K., Rosi F., Cartechini L., Fontana R., Dal Fovo A., Paolantoni M., Grazia C., Romani A., Michelin A., Andraud C., Tournié A., Dik J., ‘Interpreting technical evidence from spectral imaging of paintings by Edouard Manet in the 91��Ƭ�� Gallery’,��X-Ray Spectrometry, 2018; 1-11. DOI: 10.1002/xrs.2828

Jacopo La Nasa, Judith Lee, Ilaria Degano,��Aviva Burnstock, Klaas Jan van den Berg, Bronwyn Ormsby, and Ilaria Bonaduce��The role of the polymeric network in the water sensitivity of modern oil paints��Microchemical Journal vol 138 May 2018 p282-295.

Aviva Burnstock, Lena Stringari and Isabelle Duvernois,��Modiglianis’s Painted Nudes, Burlington Magazine April 2018, No. 1381 Vol 160 p.319-324.

Aviva Burnstock��The influence of science and technology on the conservation and technical study of paintings in the last 50 years: a personal viewpoint in The Picture so Far: 50 Years of Painting Conservation, edited by Abigail Granville, Laura Hinde, Sophie Plender, Hayley Tomlinson and Nancy Wade, Archetype publns. 2018, p32-58.��

ICOM CC Copenhagen congress September 2017:

online.org/PublicationList.aspx?search=&wg=0&vy=Copenhagen+2017&t=0&page=5

a. Insoluble surface spots, metal soaps and challenges in the conservation of Goya’s��Portrait of Francisco de Saavedra,��Aviva Burnstock*, Maureen Cross and Karen Serres
b. The chemical characterisation of water sensitive modern oil paint swatches by Winsor & Newton,��Judith Ann Lee, * Bronwyn Ann Ormsby,�� Aviva Burnstock, Klaas Jan van den Berg.

c. Water sensitivity of modern oil paintings, Lucia Bay,�� Aviva Burnstock,* Judith Lee,�� Bronwyn Ormsby and Klaas Jan van den Berg.

d. Bronwyn Ormsby, Jae Youn Chung, Burnstock, van den Berg, Judith Lee, An investigation of options for surface cleaning unvarnished water-sensitive oil paints based on recent developments for acrylic paints

Amato SR, Burnstock A, Cross M, et al. Interpreting technical evidence from spectral imaging of paintings by Édouard Manet in the 91��Ƭ�� Gallery. X‐Ray Spectrometry. 2018;1–11. https://doi.org/10.1002/

A molecular study of modern oil paintings: investigating the role of dicarboxylic acids in the water sensitivity of modern oil paints,��Donatella Banti, Jacopo La Nasa, Anna Lluveras Tenorio, Francesca Modugno, Klaas Jan van den Berg, Judith Lee, Bronwyn.Ormsby, Aviva Burnstock, Ilaria Bonaduce,��_{Royal society of Chemistry}��RSC Adv., 2018, 8, 6001.

Books

Painting in Britain��1500-1630, Production, Influences and Patronage, Tarnya Cooper,��Aviva Burnstock, Maurice Howard and Edward Town eds., British Academy OUP publn. (2015) ISBN��978-0-19-726584-0��includes leading essay��Interpreting the results of technical analysis��94-105.

Issues in Contemporary Oil Paint, Klaas Jan van den Berg,��Aviva Burnstock,��Matthijs de Keijzer, Jay Krueger, Tom Learner, Alberto de Tagle,and Gunnar Heydenreich Eds, Springer International Publns Switzerland (2014), ISBN978-3-319-10100-2.

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The 91��Ƭ��’s Conservation Department launches new teaching and qualifications for autumn 2022

The 91��Ƭ��’s Conservation Department launches new teaching and qualifications for autumn 2022

MA Conservation of Easel Paintings

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Teaching 2020-21

MA in the Conservation of Easel Paintings

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