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Articles 1 - 3 of 3
Full-Text Articles in Art and Design
The Reveal: A Technical Study And Conservation Treatment Of An Overpaint Portrait, Camille Ferrer
The Reveal: A Technical Study And Conservation Treatment Of An Overpaint Portrait, Camille Ferrer
Art Conservation Master's Projects
A severely damaged 19th-century oil painting depicting a portrait of a woman was treated at Patricia H. and E. Garman Art Conservation Department. A typed letter provided by the owner mentioned that it has been previously restored yet returned with unsatisfactory results. After further examination, the painting appeared to have been previously treated multiple times by different people. There was overpaint distinctly present on the face and later discovered to be present overall. The full state of condition of the painting was initially unknown due to the sum of the surface being overpainted. However, there were evidence of paint loss …
Paper - A Reserve Or Backgound?, Brian Fay
Paper - A Reserve Or Backgound?, Brian Fay
Conference Papers
Paper: A Reserve or a Background?
“Using examples from contemporary practice and my own research, this presentation will discuss two models for the role of paper in drawing: as background and as reserve. It will focus on Walter Benjamin's definition for the graphic lines almost metaphysical relationship to the background, and compare it with Norman Bryson's model of the paper as a reserve, for him an 'area without qualities'.”
Temporalities And The Drawn Response To The Conservation And Restoration Of Paintings, Brian Fay
Temporalities And The Drawn Response To The Conservation And Restoration Of Paintings, Brian Fay
Other resources
This paper will consider the temporal implications for drawing in the light of conservation and restoration treatments to paintings by the Seventeenth Century Dutch painter Johannes Vermeer.
Using three critical frameworks: Norman Bryson’s becoming model for drawing and the relationship of liminality to a painting during conservation/restoration, George Didi Huberman’s anti-chronological reading of the detail and the pan in painting, and Walter Benjamin’s definitions of drawing the paper will seek to address some implications for a drawing practice that responds to a pre-existing museum artworks.
The paper will present some findings from my own drawing practice that responds to Vermeer’s …