Posted: Wednesday, November 19, 2014
One thing you learn quickly in conservation is that the objects under your care make the rules! Frequently, well-thought-through plans or strategies for approaches to treatment have to be tweaked or completely rethought.
Posted: Monday, November 10, 2014
What happens when gaming students are let loose on the Met's collection? We found our answer to this question this past spring when staff from the Sherman Fairchild Center for Objects Conservation collaborated with a group of intrepid and creative students at the Rochester Institute of Technology (RIT). The students were supervised by their professor, Elizabeth Goins, in a course titled "Interactive Design for Museums," part of RIT's Museum Games & Technology Initiative. The students were tasked with communicating the inside information conservators gather from studying the materials and techniques of works of art through a fun and engaging game aimed at general audiences.
Posted: Wednesday, October 22, 2014
Now that I've finished the cleaning of the Jabach portrait, it is time to deal with the distortion resulting from the top of the picture having been folded over (as described in my last post). We first had to construct a platform on which to lay the picture face down while working on the reverse side of the canvas. This was custom built by our structural specialist, George Bisacca.
Posted: Wednesday, October 8, 2014
Posted: Wednesday, September 24, 2014
Now that the varnish removal from the Jabach portrait is finished, it's time to turn to a rather more thorny issue: the structural conservation work.
The original and surprisingly fine canvas is constructed from five pieces of fabric: a large, central rectangle; two horizontal bands, one each top and bottom; and two vertical bands, one each at the left- and right-hand sides. The horizontal bands run the full width of the composition. This construction is entirely original, planned from the outset to accommodate the monumental scale of the painting while carefully situating the seams in the peripheral areas of the composition.
Posted: Tuesday, June 17, 2014
Sarah Scaturro and Glenn Petersen are conservators in The Costume Institute who not only contributed to the conservation of Charles James's works in Charles James: Beyond Fashion, on view through August 10, but also authored an essay for the catalogue which accompanies the exhibition. The book offers a comprehensive study of the life and work of legendary Anglo-American couturier Charles James (1906−1978) and highlights his virtuosity and inventiveness. This publication also includes early photographs and rarely seen archival items, such as muslin study pieces, dress forms, and sketches.
Posted: Tuesday, December 21, 2010
Velázquez's portrait of Philip IV, king of Spain, went back on view in the European Paintings galleries today after an absence of more than a year, following the completion of a particularly complex restoration.
Posted: Tuesday, August 10, 2010
The signature image of the exhibition Picasso in The Metropolitan Museum of Art (closing August 15) is the Seated Harlequin, a masterpiece painted by Picasso when he was just nineteen years old. Gary Tinterow, Engelhard Chairman of the Department of Nineteenth-Century, Modern, and Contemporary Art, spoke with me about the painting's imagery and style, as well as recent discoveries made by Metropolitan Museum conservators.
Posted: Wednesday, February 3, 2010
Many visitors may not realize that the Museum's staff includes ten scientists, with backgrounds in chemistry, biology, geology, or engineering. As part of the Department of Scientific Research, we study the materials and the technologies that were used in creating works of art, and we collaborate with curators and conservators on art historical studies, conservation research, and conservation treatments.