THE IMPACT OF RESEARCH ON THE LINING AND CLEANING OF EASEL PAINTINGS
JOYCE HILL STONER
Berger, G. A.1976. Formulating adhesives for the conservation of paintings. In Conservation and restoration of pictorial art, ed.N.Brommelle and P. Smith. London: Butterworths. 169–81.
Burnstock, A., and T.Learner. 1992. Changes in the surface characteristics of artificially aged mastic varnishes after cleaning using alkaline reagents. Studies in Conservation37:165–84.
de laRie, E. R., and C. W.McGlinchey. 1990a. The effect of a hindered amine light stabilizer on the aging of dammar and mastic varnish in an environment free of ultraviolet light. In Cleaning, retouching and coatings, ed.J. S.Mills and P.Smith. London: International Institute for Conservation. 160–64.
de laRie, E. R., and C. W.McGlinchey.1990b. New synthetic resins for picture varnishes. In Cleaning, retouching and coatings, ed.J. S.Mills and P.Smith. London: International Institute for Conservation. 168–73.
Feller, R. L., N.Stolow, and E. H.Jones. 1985. On picture varnishes and their solvents. 1959, 1971. Washington, D.C.: National Gallery of Art.
Fieux, R.1976. Electrostatic cling as a pressure source in lining of paintings: A preliminary report. In Lining of paintings: A reassessment, ed.M.Ruggles. Ottawa: National Gallery of Canada.
Fieux, R.1978. Electrostatic hold: A new technique of lining. ICOM Committee for Conservation preprints, 5th Triennial Meeting, Zagreb. 78/2/7/1–10.
Fogg Art Museum. 1930. Survey of technical research in the Fogg Museum of Art. Foundation of the American Institute for Conservation History Archive, Winterthur Museum, Winterthur, Del.
Gettens, R. J.1969. IIC: An international association of conservators. Museum News47(10):11–14.
Hansen, E. F., and C. L., Reedy, eds.1994. Research priorities in art and architectural conservation. Washington, D.C.: American Institute for Conservation.
Hedley, G.1980. Solubility parameters and varnish removal: A survey. The Conservator4:12–18.
Hedley, G.1985. On humanism, aesthetics and the cleaning of paintings. Lecture series presented at the Canadian Conservation Institute. Unpublished. CCI.
Hedley, G.1988. Relative humidity and the stress/strain response of canvas paintings: Uniaxial measurements of naturally aged samples. Studies in Conservation33:133–48.
Hedley, G.1990. Long lost relations and new found relativities: Issues in the cleaning of paintings. In Appearance, opinion, change: Evaluating the look of paintings. London: United Kingdom Institute for Conservation. 8–13.
Hedley, G.1993. Measured options: The collected papers on the conservation of paintings, ed.C.Villers. London: United Kingdom Institute for Conservation.
Hedley, G., and Villers, C.1984. Lining in 1984: Questionnaire replies. ICOM Committee for Conservation preprints, 7th Triennial Meeting, Copenhagen. 84.2.22–84.2.25.
International Museums Office. 1940. Manual on the conservation of paintings. Paris: International Institute of Intellectual Cooperation.
Keck, S.1976. Further materials for a history of conservation. AIC preprints, 4th annual meeting, Dearborn, Mich. Washington, D.C.: AIC. 11–19.
Keck, S.1984. Some picture cleaning controversies: Past and present. Journal of the American Institute for Conservation23:73–87.
Mecklenburg, M. F.1982. Some aspects of the mechanical behavior of fabric supported paintings. Report to the Smithsonian Institution, Washington, D.C.
Mecklenburg, M. F., M., McCormick-Goodhart, and C. S., Tumosa. 1994. Investigation into the deterioration of paintings and photographs using computerized modeling of stress development. Journal of the American Institute for Conservation33:153–70.
Mehra, V. R.1975. Further developments in cold-lining (nap-bond system). ICOM Committee for Conservation preprints, 4th Triennial Meeting, Venice. 75/11/5.1–75/11/5–2.6
National Institute for Conservation of Cultural Property, Scientific Research Priorities Committee. 1984. Proposed priorities for scientific research in support of museum conservation. Washington, D.C.: Smithsonian Institution.
Percival-Prescott, W.1976. The lining cycle. 1974. In Lining of paintings: A reassessment, ed.M.Ruggles. Ottawa: National Gallery of Canada. 1–47.
Planck, Max.1949. Scientific autobiography. New York: Philosophical Library.
Rabin, B.1976. A poly(vinyl acetate) heat seal adhesive for lining. In Conservation and restoration of pictorial art, ed.N.Brommelle and P.Smith. London: Butterworths. 165–68.
Ruggles, M., ed.1976. Lining of paintings: A reassessment. Ottawa: National Gallery of Canada.
Schmitt, S.1990. Examination of paintings treated by Pettenkoffer's process. In Cleaning, retouching and coatings, ed.J. S.Mills and P.Smith. London: International Institute for Conservation.
Stolow, N.1976. Transcript of interview, October 25. Foundation of the American Institute for Conservation History Archive, Winterthur Museum, Winterthur, Del.
Stout, G. L.1964. Thirty years of conservation in the arts: A Summary of remarks to the IIC American Group in New York, June 1963. Studies in Conservation9:126–28.
Thomson, G., ed.1963. Recent advances in conservation. London: Butterworths.
Wolbers, R. C.1988. Aspects of the examination and cleaning of two portraits by Richard and William Jennys. AIC preprints, 16th annual meeting, New Orleans. Washington, D.C.: AIC. 245–60.
Wolbers, R. C.1990. A radio-isotopic assay for the direct measurement of residual cleaning materials on a paint film. In Cleaning, retouching and coatings, ed.J. S.Mills and P.Smith. London: International Institute for Conservation. 119–25.
JOYCE HILL STONER is the director and chair of art conservation for the University of Delaware/ Winterthur Museum, for which she has taught for 18 years. She is a graduate of the New York University Conservation Center and has been a visiting scholar in paintings conservation at the Metropolitan Museum of Art and the Getty Museum. From 1969 to 1986 she served as managing editor of Art and Archaeology Technical Abstracts and has coordinated the FAIC Oral History Archive since 1975. She was senior consultant for the team treating J. M. Whistler's Peacock Room, Freer Gallery of Art, from 1988 to 1992 and is currently writing a doctoral dissertation on facture, technique, and friendship in the works of Whistler. Address: Art Conservation Dept., University of Delaware, 303 Old College, Newark, Del. 19716.
This paper was presented in the Conservation Science update session at the 21st annual meeting of the American Institute for Conservation of Historic and Artistic Works, June 1993, Denver, Colorado.