Art Conservation: Stabilization and Restoration
When it comes to art conservation, we can broadly categorize conservation in two ways: stabilization and restoration. When focusing on stabilization, a conservator performs tasks aimed at preventing the artwork from deteriorating any more than it has. When focusing on restoration, a conservator may still work on stabilizing the artwork, but he/she will also work on bringing the artwork back to its original state as accurately as possible.
Not only do conservators tend to be well versed in art history, they are also very knowledgable about science, especially chemistry and physics. They study the techniques of the artists whose works they are conserving, they study the period in which the pieces were created, and they study the materials used by the artists to create those works.
The resources below discuss the conservation of a wide variety of works, including paintings on wood, canvas, and silk; drawings on paper; marble sculpture; fabric; furniture; and architecture.
Click on the image or the text below the image to view the resource.
Marjorie Shelley, the Met's paper conservator, describes the process for conserving drawings on paper created by Michelangelo on loan from Christ Church Picture Gallery, Oxford.
Conserving a Painting of Elizabeth I at the National Portrait Gallery, London
Sophie Plender, conservator at the National Portrait Gallery, London, discusses to process for conserving the "Phoenix" portrait of Elizabeth I (c. 1575).
Conserving a Painting of Elizabeth I at the National Portrait Gallery, London
Sophie Plender, conservator at the National Portrait Gallery, London, discusses to process for conserving the "Phoenix" portrait of Elizabeth I (c. 1575).
Julian Baumgartner of Baumgartner Fine Art Restoration in Chicago describes in detail the process for restoring an icon of Ave Maria painted on wood.
Carol Stringari, deputy director and chief conservator at the Guggenheim Museum, answers questions in an article on the restoration of Jackson Pollock's Alchemy (1947) which took place in Italy.
Glenn Petersen, The Met's costume conservator, discusses the history of Edgar Degas' Little Dancer, Aged Fourteen (1878-81) and its bronze castings, as well as his role in replacing the fabric tutu on the Met's cast sculpture.
The British Museum, including curator Timothy Clark, describes the process of restoring Gan Ku's Tiger (1790s), a painting on silk, in 2007.
Restoring a Tapestry
Metropolitan Museum of Art textile conservators Tina Kane and Alice Blohm discuss the decades long process (1974-2009) for restoring Christ is Born as Man's Redeemer, also known as the Burgos Tapestry (1500-1520), for the Met Cloisters in New York City.
Conserving Architecture
The Metropolitan Museum of Art shows the process for conserving and reconstructing the inside of a Syrian house from the Ottoman period (built in 1707 with later alterations) at the museum between 2008 and 2011.
Restoring Furniture
Curators and conservators at the Wallace Collection, London, discuss the process for conserving a commode created by Jean-Henri Riesener for Marie Antoinette.
Conserving an Object
Caitlin Mahony, objects conservator at the Metropolitan Museum of Art, discusses the process for conserving a Yup'ik Mask (c. 1900).
Preserving "New Media" Art
Artspace discusses the preservation of "New Media" Art, an issue taken up by the Whitney Museum of American Art in New York City.
Conserving Frames
The Smithsonian Museum of American Art presents Martin Kotler, the frames conservator at the museum in 2009, restoring an old frame.
Restoring a Tapestry
Metropolitan Museum of Art textile conservators Tina Kane and Alice Blohm discuss the decades long process (1974-2009) for restoring Christ is Born as Man's Redeemer, also known as the Burgos Tapestry (1500-1520), for the Met Cloisters in New York City.
Conserving Architecture
The Metropolitan Museum of Art shows the process for conserving and reconstructing the inside of a Syrian house from the Ottoman period (built in 1707 with later alterations) at the museum between 2008 and 2011.
Restoring Furniture
Curators and conservators at the Wallace Collection, London, discuss the process for conserving a commode created by Jean-Henri Riesener for Marie Antoinette.
Conserving an Object
Caitlin Mahony, objects conservator at the Metropolitan Museum of Art, discusses the process for conserving a Yup'ik Mask (c. 1900).
Preserving "New Media" Art
Artspace discusses the preservation of "New Media" Art, an issue taken up by the Whitney Museum of American Art in New York City.
Conserving Frames
The Smithsonian Museum of American Art presents Martin Kotler, the frames conservator at the museum in 2009, restoring an old frame.
Conservators at English Heritage discuss the conservation of paintings in a series of videos.
Examining a 14th Century Painting
Corey D'Augustine, a conservator in New York City, and Dr. Steven Zucker discuss Taddeo Gaddi's Saint Julian (1340) from the perspective of a conservator.
Examining a 17th Century Painting
Jim Coddington, former chief conservator at the Museum of Modern Art, and Dr. Beth Harris discuss Rembrandt's Aristotle with a Bust of Homer (1653) from the perspective of a conservator.
Examining a 19th Century Painting
Jim Coddington, former chief conservator of the Museum of Modern Art, and Dr. Steven Zucker discuss Paul Cezanne's Madame Cezanne (1891) from the perspective of a conservator.
Examining an Ancient Statue
Corey D'Augustine, a conservator in New York City, and Dr. Beth Harris discuss the Marble Statue of a Wounded Warrior (c.138-181) from the perspective of a conservator.
Examining a 14th Century Painting
Corey D'Augustine, a conservator in New York City, and Dr. Steven Zucker discuss Taddeo Gaddi's Saint Julian (1340) from the perspective of a conservator.
Examining a 17th Century Painting
Jim Coddington, former chief conservator at the Museum of Modern Art, and Dr. Beth Harris discuss Rembrandt's Aristotle with a Bust of Homer (1653) from the perspective of a conservator.
Examining a 19th Century Painting
Jim Coddington, former chief conservator of the Museum of Modern Art, and Dr. Steven Zucker discuss Paul Cezanne's Madame Cezanne (1891) from the perspective of a conservator.
Examining an Ancient Statue
Corey D'Augustine, a conservator in New York City, and Dr. Beth Harris discuss the Marble Statue of a Wounded Warrior (c.138-181) from the perspective of a conservator.
