List of dates in the history of conservation and restoration

This page details the historic development of Art conservation in Europe and the United States.

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For the past 12 weeks, we've been investigating our living planet together and learning how it works on many levels, how populations of organisms interact, how communities thrive and ecosystems change, and how humans are wrecking the nice, perfectly functioning systems Earth has been using for hundreds of thousands of years. And now it's graduation day! This here is like the commencement speech, where I talk to you about the future and our role in it, and how what we're doing to the planet is totally awful, but we're taking steps to undo some of the damage that we've done. So what better way to wrap up our series on ecology than by taking a look at the growing fields of conservation biology and restoration ecology. These disciplines use all the kung fu moves that we've learned about in the past 11 weeks and apply them to protecting ecosystems and cleaning up messes that we've already made. And one of the main things they teach us is that doing these things is difficult, like, in the way that uncooking bacon is difficult. So let's look at what we're doing, and try to uncook this unbelievably large pile of bacon we've made! Just outside of Missoula, Montana, where I live, we've got a Superfund site. Not Superfun...Superfund. A hazardous waste site that the government is in charge of cleaning up. The mess here was made more than a hundred years ago, when there was a dam in the Clark Fork River behind me called the Milltown Dam. This part of Montana has a long history of copper mining, and back in 1908, there was a humongous flood that washed about 4.5 million cubic meters of mine tailings chock full of arsenic and toxic heavy metals into the Clark Fork River. And most of it washed into the reservoir created by the Milltown dam. I mean, actually it was lucky that the dam was there, it had only been completed six months before, or the whole river system, all the way to the Pacific Ocean, would have been a toxic mess. As it happened, though, only about 160 kilometers of the river was all toxic-messed-up. A lot of it recuperated over time, but all that nasty hazardous waste was still sitting behind Milltown Dam, and some of it leached into the groundwater that started polluting nearby resident's wells. So scientists spent decades studying the extent of the damage caused by the waste and coming up with ways to fix it. And from 2006 to 2010, engineers carefully removed all the toxic sediment as well as the dam itself. Now, this stretch of the Clark Fork River runs unimpeded for the first time in over a century, and the restored area where the dam used to be is being turned into a state park. Efforts like this show us conservation biology and restoration ecology in action. Conservation biology involves measuring the biodiversity of an ecosystem and determining how to protect it. In this case, it was used to size up the health of fish populations in the Clark Fork River, which were severely affected by the waste behind the dam, and the dam blocking their access to spawning grounds upstream, and figuring out how to protect them during the dams removal. Restoration ecology, meanwhile, is the science of restoring broken ecosystems, like taking an interrupted, polluted river and turning it into what you see taking shape here. These do-gooder, fix-it-up sciences are practical rather than theoretical, by which I mean, in order to fix something that's broken, you've got to have a good idea of what's making it work to begin with. If something was wrong with the expansion of the Universe, we wouldn't be able to fix it because we have no idea, at all, what's making all that happen. So in order to fix a failing ecosystem, you have to figure out what was holding it together in the first place. And the glue that holds every ecosystem together is biodiversity. But then of course, biodiversity can mean many different things. So far we've generally used it to mean species diversity, or the variety of species in an ecosystem. But there are also other ways of thinking about biodiversity that help conservation biologists and restoration ecologists figure out how to save species and repair ecosystems. In addition to the diversity of species, ecologists look at genetic diversity within a species as a whole and between populations. Genetic diversity is important because it makes evolution possible by allowing a species to adapt to new situations like disease and climate change. And then another level of biodiversity has to do with ecosystem diversity, or the variety of different ecosystems within an area. A big ol' forest, for example, can host several kinds of ecosystems, like wetland, alpine, and aquatic ones. Just like we talked about when we covered ecological succession, the more little pockets you've got performing different functions, the more resilient the region will be as a whole. So, yeah, understanding all of this is really important to figuring out how to repair an ecosystem that is in shambles. But how do conservation biologists take the information about what makes an ecosystem tick and use it to save the place from going under? Well, there's more than one way to approach this problem. One way is called small-population conservation. This approach focuses on identifying species and populations that are really small, and tries to help boost their numbers and genetic diversity. Low population and low genetic diversity are kind of the death knell for a species. They actually feed off each other, one problem making the other problem worse, ultimately causing a species to spiral into extinction. See, when a tiny little population suffers from inbreeding or genetic drift, that is, a shift in its overall genetic makeup, this leads to even less diversity, which in turn causes lower reproduction rates and higher mortality rates, which makes the population smaller still. This terrible little dynamic is known by the awesome term extinction vortex. The next step is to figure out how small a population is too small. Ecologists do this by calculating what's called the minimum viable population, which is the smallest size at which a population can survive and sustain itself. To get at this number, you have to know the real breeding population of, say, grizzly bears in Yellowstone National Park, and then you figure out everything you can about a grizzly's life history: how long they live, who gets to breed the most, how often they can have babies, that kind of thing. After all that information is collected, ecologists can run the numbers and figure out that for the grizzlies in Yellowstone, a population of, say hypothetically, 90 bears would have about a 95% chance of surviving for 100 years, but if there were a population of 100 bears, the population would likely be able to survive for 200 years. Something to note: ecology involves a lot of math. So if you're interested in this, that's just the way it is. So, that's the small-population approach to conservation. Another way of preserving biodiversity focuses on populations whose numbers are in decline, no matter how large the original population was. This is known as declining population conservation, and it involves answering a series of related questions that get at the root of what's causing an organism's numbers to nosedive. First, you have to determine whether the population is actually declining. Then, you have to figure out how big the population historically was and what its requirements were. And finally, you have to get at what's causing the decline and figure out how to address it. Milltown Dam actually gives us a good example of this process. In the winter of 1996, authorities had to release some of the water behind the dam as an emergency measure, because of a big ice flow in the river that was threatening to break the dam. But when they released the water, a bunch of toxic sediment went with it, which raised the copper concentrations downriver to almost 43 times what state standards allowed. As a result, it's estimated about half of the fish downstream died. Half the fish! Dead! And researchers have been monitoring the decline in populations ever since. This information was really helpful in determining what to do with the dam. Because we knew what the fish population was like before and after the release of the sediment, it was decided that it would be best to get the dam out as soon as possible, rather than risk another 1996 scenario. Which brings me to the place where conservation biology and restoration ecology intersect. Restoration ecology is kind of where the rubber meets the road in conservation biology. It comes up with possible solutions for ecological problems. Now, short of a time machine, which I'm working on, you can't really get a natural environment exactly the way it used to be. But you can at least get rid of whatever is causing the problem and help re-create some of the elements that the ecosystem needs to function properly. All this involves a whole suite of strategies. For instance, what's happening in Milltown is an example of structural restoration, basically the removal and cleanup of whatever human impact was causing the problem. In this case, the dam and the toxic sediments behind it. And then the rebuilding of the historical natural structure, here the meanders of the river channel and the vegetation. Another strategy is bioremediation, which recruits organisms temporarily to help remove toxins, like bacteria that eat wastes or plants that leach out metals from tainted soils. Some kinds of fungi and bacteria are even being explored as ways to bio-remediate oil spills. Yet another, somewhat more invasive restoration method is biological augmentation. Rather than removing harmful substances, this involves adding organisms to the ecosystem to restore materials that are gone. Plants that help fix nitrogen like beans, acacia trees and lupine are often used to replenish nitrogen in soils that have been damaged by things like mining or overfarming. And ecologists sometimes add mycorrhizal fungi to help new plantings like native grass take hold. But of course, we're just humans, and we're not as smart as millions of years of evolution. Sometimes we get things wrong. For example, when you bring an invasive species into a place to eradicate an invasive species, sometimes you just end up with two invasive species on your hands, which collapses the ecosystem even more rapidly. The introduction of cane toads to Australia in the 1930s to control beetles is a particularly infamous example. Not only are they everywhere now but because they're toxic they're poisoning native species like dingos that try to eat them. Nice. So you know what? I have an idea. After spending the past couple of weeks talking about ecological problems, I've come to the conclusion that it's just easier to protect ecosystems rather than trying to fix them. Because we know a lot about what makes ecosystems tick, so if we spend more time trying to save them from us and our stuff, we'll spend less time cleaning up after ourselves and running the risks of getting it wrong. Because as we all know, the sad fact is: uncooking bacon is impossible. But we can eat it. Thank you for joining me on this quick three-month jaunt through the natural world, I hope it made you smarter not just in terms of passing your exams but also in terms of being a Homo-sapien that inhabits this planet more wisely. And thank you to everyone who helped us put these episodes together: our technical director Nick Jenkins, our editor Caitlin Hoffmeister, our writers Blake DePastino, Jesslyn Shields and myself, our sound designer Michael Aranda, and our animators and designers Peter Winkler and Amber Bushnell. And the good news is: there's more Crash Course coming at you soon. If you have any questions or comments or ideas, we're on Facebook and Twitter, and of course, down in the comments below. We'll see you next time.

Important dates in the history of art conservation

Some key dates in the history of conservation in Europe and the United States include:

1565, Restoration of the Sistine Chapel frescoes began [53 years after the ceilings were painted].
1726, First attempt was made to restore Leonardo da Vinci's Last Supper by Michelangelo Bellotti.
1729, First recorded transfer had been carried out by Domenico Michelini in Venice for a Titian painting (Ulisse Forni, Manuale del pittore restauratore, 1866, p. 106). The profession of restoration becomes more visible in the following years. In the 18th century, painting restoration became a separate profession in France.
1735 to 1820, Restoration of paintings in the Spanish royal collections following a 1734 fire. Hundreds of important paintings were methodically treated in a specially constructed studio; materials used have been documented by Zahira Véliz. (Zahira Véliz "The Restoration of Paintings in the Spanish Royal Collections, 1734-1820," Studies in the History of Painting Restoration, ed. Christine Sitwell and Sarah Staniforth, Archetype Publications, 1998, pp. 43–62.)
1777, 1785, Pietro Edwards, Director of the Restoration of the Public Pictures of Venice and the Rialto, published on basic concepts of preventive conservation, original vices of painters’ materials, respect for the artist's original intent, and reversibility.
1794, Charles Willson Peale recorded in his memo book using wax to impregnate paintings. By the middle of the 19th century, paintings were being wax lined; Rembrandt's Night Watch was wax-lined in 1851. [Note precedent above with glue; first there was impregnation with an adhesive and some years later, lining. Analogous to the 20th-century use of PVA/EVA etc.]
1809, Count Chaptal of Napoleon's court filed a report regarding pigments used in Pompeii. [Technical analysis of artists’ materials appears and increases in the 19th century.]
1815, Pigment studies by Sir Humphry Davy (he had a small portable chemical laboratory and traveled around Europe, accompanied by Michael Faraday 1813–1815)
1850, First U.S. Art Restoration Company was formed in New York City – Oliver Brothers Smithsonian Institution, James Oliver account books^[1]
1851, Rembrandt's Night Watch is relined with a wax adhesive.
1852, The cleaning by John Seguier of nine major pictures in the National Gallery, London led to a fierce public outcry and demand for an inquiry. Cleaning controversies followed in London, Paris, Munich, (in the US by 1978, and about the Sistine Chapel by 1985). (Cleaning controversies had also erupted re. policies at the Louvre in 1793.)
1850-1853, Michael Faraday carried out analytical and deterioration studies for the National Gallery, London, investigated varnishes, cleaning methods and the impact of London fog, coal smoke, and gas lighting on the discoloration of surface coatings. His findings were generally ignored.
1860s, Oliver Brothers Fine Art Restoration and Conservation has expanded and opened a location in Boston.
1863, Max Pettenkofer of Munich patented a method to “reverse the aging of varnish” through exposure to ethanol vapors; this method was later found to increase the interactive zone between paintings and varnish, complicating future cleanings [Ref. Sibylle Schmitt, IIC 1990].
1870s, Louis Pasteur carried out analytical studies of paint and optical crystallography for over a decade.
1888, Friedrich Rathgen became chemist in charge of the Royal Museums of Berlin (Staatliche Museen), first museum laboratory
1896, Wilhelm Röntgen discovered x-rays in 1895 and x-rayed a painting the next year. He called them “X-rays”, using the mathematical designation for something unknown.
1920, British Museum Research Laboratory established under the direction of Alexander Scott as a direct response to the poor state of the museum's collections.
1920s, George T. Oliver of Oliver Brothers Fine Art Restoration, Boston^[2] has invented world's first vacuum table for re-lining paintings. The patent^[3] was filed in 1937.^[4]
1928, Fogg Art Museum’s Technical Department established by the museum’s Director, Edward W. Forbes; this was the first research laboratory in an American museum. His allies for technical studies of paintings were Daniel V. Thompson and Alan Burroughs. George L. Stout became Head Conservator and Rutherford John Gettens, the department’s chemist.^[5]
1928, Questionnaire initiated by the German museum council in 1928 on how much to clean, how much to inpaint [Berlin was a leading international art center at this time]. German activities at an international level ended when the National Socialists assumed power in 1933; art experts who emigrated (e.g. Max J. Friedländer, Ernst Gombrich, Julius S. Held, Johannes Hell, Helmut Ruhemann, William Suhr, etc.) influenced attitudes in U.K. and U.S.
1930, The first “International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art” held in Rome, 13–17, October. Impact on: the founding of IIC, ICOM-CC, many training programs, ethics, standards of practice, documentation, preventive conservation, etc.
1930, Museum of Fine Arts, Boston, laboratory established.
1930, The first International “Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art,” Rome. This group decided to edit a “Manual on the Conservation of Paintings” first published in French in 1939, a remarkable international collaborative effort. Re-issued by Archetype, 1997, copyright ICOM.
1931, Louvre Museum Laboratory established.
1931, James J. Rorimer of the Metropolitan Museum published Ultra-violet Rays and Their Use in the Examination of Works of Art.
1931, Athens Charter is adopted
1931, Conservation department established at the Walters Art Gallery [now “Museum”] under David Rosen, and chemist Arthur Kopp established a laboratory at the Metropolitan Museum of Art
1932-1942, Publication of Technical Studies in the Field of the Fine Arts, published for the Fogg Museum of Art, first technical journal.
1932, First edition of the Carta del Restauro (Restoration Charter) prepared, based on the Athens Charter of 1931.
1934, Conservation training program began at the Courtauld Institute in London.
1934, First translated publication of Max Doerner's The Materials of the Artist and their Use in Paintings. Professor Doerner (1870–1939) was instructor/professor in technical methods at the Royal Bavarian Academy in Munich 1911–1939.
1936, Conservation training program began at the Akademie der Bildenden Künste in Vienna.
1937, Founding of the State Institute for Technical Tests and Research in the Field of Painting, called the “Doerner Institute.” This Institute also began a training program the next year.^[6]
1938, Alan Burroughs of the Fogg Art Museum published Art Criticism from a Laboratory, based on his research x-radiographing Old Master paintings.
1939, The Istituto Superiore per la Conservazione ed il Restauro (formerly the Istituto Centrale per il Restauro), the Italian body responsible for restoration/conservation rules, is formed in Rome.
1940, Manual on the Conservation of Paintings (from the 1930 Rome Conference) published in French in 1939 and in English in 1940. Compiled by 12 international experts: five art historians, five restorers, and two chemists.
1943, Conservation training program at the Istituto Centrale in Rome ^[7]
1946, The International Council of Museums was organized at a meeting held in November at the Louvre. A non-governmental organization composed of National Committees in the various member nations with the purpose of furthering international cooperation among museums. The Committee for Conservation (now known as ICOM-CC) began in 1967. Triennial meetings began in 1969.^[8]
1947, Trial of Han van Meegeren, convicted of forging paintings by Vermeer. The discussions among Paul Coremans, Harold Plenderleith, and F. I. G. Rawlins in connection with this trial were credited by Hero Boothroyd Brooks as important to the establishment of the International Institute for Conservation.
1947, Exhibition of cleaned paintings at the National Gallery, London. Controversy and inquiry resulted in the Weaver Report, 1948. (Committee: Paul Coremans, George L. Stout, J. R. H. Weaver, President of Trinity College, Oxford.)
1948, Institute Royale du Patrimoine Artistique founded, Brussels; dedicated to the study and conservation of the artistic and cultural heritage of the country. As a federal scientific institution, the institute's primary mission is research and public service.^[9]
1948, Use of hot table reported, Stephen Rees Jones, Courtauld Institute.
1948, The Institut Royal du Patrimoine Artistique|Koninklijk Instituut voor het Kunstpatrimonium (IRPA-KIK) is founded in Brussels, Paul Coremans, Director
1948, The “Brussels Preparatory Meeting” is held to plan the founding of the International Institute for Conservation.
1949, Conservation training program at the Institut für Technologie der Malerei in Stuttgart.
1950, IIC, the International Institute for Conservation, originally known as the “International Institute for the Conservation of Museum Objects,” was incorporated on 27 April 1950. A short history of IIC by Hero Boothroyd Brooks was published on the occasion of its 50th anniversary in 2000.^[10] Now 2389 members. [308 Fellows, 1533 individuals, 160 students, 388 institutions July 2007]
1950, Establishment of the Faculty of Conservation of Monuments (since 1992 - Faculty of Conservation and Restoration of Works of Art) at the Academy of Fine Arts in Krakow
1952, First issue of Studies in Conservation, from the International Institute for Conservation.
1952, First regional center in the US opened, the Oberlin Intermuseum Conservation Association, now located in Cleveland.^[11]
1955, First issue of IIC Abstracts by the International Institute for Conservation. This became Art and Archaeology Technical Abstracts in 1966 when it was published from the NYU, Institute of Fine Arts, Conservation Center, (JHS was Managing Editor from 1969 to 1986). The administration of AATA moved from the NYU Conservation Center to the Getty Conservation Institute in 1985 and the publication went entirely online in 2003^[12]
1955, Introduction of vacuum pressure for the hot table, R. E. Straub, S. Rees Jones, Studies in Conservation, Vol. II.
1957, Establishment of a laboratory of biology applied to the art conservation at the Istituto Centrale in Rome. Microbiologist Clelia Giacobini was Director from 1964 to 1995.
1959, The Rome Centre for the Study of the Preservation and Restoration of Cultural Property began operation. Harold Plenderleith, Director. (Known as ICCROM since 1978).^[13] Now has 129 member states. Publications, guidelines, an extensive conservation library and international training programs.
1960, The heated vacuum re-lining table for painting restoration developed by Jack Willard in the UK.^[14]
1960, First regular meeting of the IIC-American Group, Isabella Stewart Gardner Museum. Now known as the American Institute for Conservation with more than 3300 members (as of 06).^[15]
1960, First four students began graduate training in conservation at the Conservation Center, Institute of Fine Arts, New York University (First graduate art conservation training program in the U.S.)^[16] Four-year program, moved across the street to 14 East 78th Street, NYC in 1983.
1963, Establishment of the Conservation Analytical Laboratory at the Smithsonian Institution. Moved in 1983 to the Museum Support Center in Suitland, Maryland. In 1998, renamed SCMRE, the Smithsonian Center for Materials Research and Education. In 2006, renamed MCI, Museum Conservation Institute.^[17]
1963, Teoria del Restauro by Cesare Brandi first published.
1964, The Venice Charter was approved.
1965, The International Council on Monuments and Sites (ICOMOS) is founded
1965, National Endowment for the Arts founded. The Museum Program began in 1971 and awarded about $11 million to help start Regional Conservation Centers under John Spencer.
1966 November, Florence Flood; brought international awareness to issues of art conservation. The gathering of international conservation professionals together over the next several years stimulated collaboration and the founding of a number of European conservation training programs.
1967, The beginning of the ICOM-Committee for Conservation, first triennial meeting held in 1969.
1968, Publication of the first code of ethics and standards of practice for conservation internationally (“The Murray Pease Report”) by the IIC-American Group
1969, Publication of America's Museums: The Belmont Report, AAM; the need for conservation of collections recognized, government support for conservation considered indispensable. Additional reports have followed from the IIC-AG in 1975, National Institute for Conservation, now known as Heritage Preservation, etc.
1969, First painting lined with BEVA 371 (by Gustav Berger). Gerry Hedley later reported the results of a survey in the mid-1980s that BEVA became the most popular lining adhesive internationally.
1970, First students began training in the three-year graduate program in conservation, Cooperstown Graduate Program, Cooperstown. NY; takes ten students a year, three-year program, moved to Buffalo State College in 1987.^[18]
1970s, There were three other full-time, three-year conservation training programs, at the Fogg Art Museum, the Oberlin Intermuseum Conservation Association in Ohio, and the Canadian Conservation Institute in Ottawa; all three ceased providing three-year programs by the end of the decade, but all continue to accept advanced interns.
1972, New version of the Carta del Restauro (Restoration Charter) published.
1973, IIC-AG changed to the AIC and began the Foundation of the American Institute for Conservation, its non-profit 501(c)(3) sister organization, and the Journal of the American Institute for Conservation.^[15]
1973, The National Conservation Advisory Council was organized in 1973, funded by the National Museum Act of the Smithsonian Institution. The NCAC surveyed national needs and became the National Institute for the Conservation of Cultural Property in 1982, and changed its name again to Heritage Preservation in 1997. Ca. 150 institutional members as of 2004–06.^[19]
1973, Andrew Oddy, the main conservator at the British Museum, proposed a test to determine the safety of materials to art objects, now called the Oddy test.
1974, First students began training in the three-year graduate program in conservation sponsored jointly by the University of Delaware and Winterthur Museu^[20]
1974, First students began training in the two-year graduate program in conservation at Queen's University, Kingston, Ontario, Canada^[21]
1974, Rutherford John Gettens died a week after making a presentation about the need for a conservation history project. FAIC oral history project launched in 1975. Over 239 transcribed interviews now available to researchers housed in the Winterthur Museum archives.
1974, 1975, 1976, “Moratoria” on lining declared at conferences at Greenwich, UK; Venice (ICOM-CC 1975), and Ottawa (sponsored by the National Gallery, Canada). Lining practices were reexamined and the regular lining of paintings as a preventive measure by practicing professional conservators decreased steadily. (NOTE: this occurred ca. two decades after the introduction of vacuum lining. A philosophy of “minimal intervention” gained increasing numbers of supporters in all specialties over the next three decades.
1976, Research Center on the Materials of the Artist and Conservator at Carnegie Mellon University established, Dr. Robert L. Feller, Director. Now “Art Conservation Research Center”^[22]
1978, ICOM-CC created the first working paper on the draft definition of the conservator-restorer.
1980, The Midwest Regional Conservation Guild is formed and holds its first Annual Meeting at the Indianapolis Museum of Art in the Spring of 1981.
1981, The Conservation Education Program at Columbia University accepted students for training in library and archives conservation. This Program moved to the University of Texas in 1992.^[23]
1982, Major branches of the J. Paul Getty Trust were first defined.
1982, Interdisciplinary publications reflecting George L. Stout's concept of the “three-legged stool,” co-authored by conservators, art historians, and scientists appear and increase in number: Art and Autoradiography (Metropolitan Museum, 1982); Examining Velasquez (Gridley McKim-Smith, Greta Andersen-Bergdoll, and Richard Newman, 1988).
1982, CAL, the “Conservation Analytical Laboratory” of the Smithsonian Institution, moved to Silver Hill, Maryland. A three-year program for furniture conservation was sponsored there for a limited period of time; a new class was accepted only every three years, and classes were scheduled so that professional furniture conservators could participate in segments but keep their practices. Later the name was changed to SCMRE and in 2005 to “MCI,” Museum Conservation Institute.
1984, First meeting of the Association of Graduate Training Programs in Conservation, in conjunction with the annual student conference, Harvard University faculty club; now known as ANAGPIC, Association of North American Graduate Programs in Conservation.
1984-1985, New methods of cleaning introduced by Professor Richard Wolbers, University of Delaware, including enzymes, resin soaps, and gels.
1985, Getty Conservation Institute began operations in Marina del Rey, CA; in 1997 moved to the Getty Center in Brentwood.^[24]
1990, First students accepted in the Ph.D. Program in Art Conservation Research; six students graduated by 2003 at the University of Delaware. This program was not granted permanent status. A new Ph.D. program in Preservation Studies at the UD accepted its first students in 2006.
1990, NAGPRA, Native American Graves Protection and Repatriation Act.
1990 The CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation was initiated for an outstanding contribution by one or more persons who, individual or jointly, have enhanced understanding of art through the application of knowledge and experience in conservation, art history, and art. Winners of this award include Robert L. Feller (92), Molly Ann Fairies (95), W. Thomas Chase, (98), Harry Cooper and Ron Spronk (02), Andrea Kirsh and Rustin S. Levenson (03), Carol Mancusi-Ungaro (04), Paolo Cherchi Usai (film preservation) (05); Don Kalec and Jim Thorpe (architectural conservation) (06).
1991, E.C.C.O. (European Confederation of Conservator-Restorers' Organisations) was created. The ECCO code of ethics was adopted in 1993.
1995, National Endowment for the Arts ceased funding training in art conservation.
1997, RAP, Regional Alliance for Preservation (RAP) began in February 1997 as a pilot project of the Commission on Preservation and Access (Washington, DC) to foster cooperation among the Preservation Field Service programs funded by the NEH. When pilot-project funding ended in February 1998, participants decided to continue RAP as a cooperative program; the alliance expanded to include members of the Association of Regional Conservation Centers (ARCC).^[25] There are now 13 members.
1999, The International Network for the Conservation of Contemporary Art (INCCA) was established, and by 2008 the network included 150 partner institutions, the majority located in Europe and the United States. Members of INCCA use www.incca.org as their communication platform.
2000, New funding for conservation science positions in graduate training programs and major museum conservation laboratories, initiated by Angelica Rudenstine and the Andrew W. Mellon Foundation.
2005, The graduate training program in archaeological conservation sponsored jointly by UCLA and the Getty Conservation Institute accepted its first class of students.^[26]
2006, The new Preservation Studies Doctoral Program at the University of Delaware accepted its first three students.
2006, The launch of AMIEN,^[27] Art Materials Information and Education Network, jointly sponsored by Mark Gottsegen and The ICA, Cleveland (joining INCCA, the International Network for the Conservation of Contemporary Art,^[28] as a resource on the conservation of contemporary art).

References

^ Archives of American Art. "Summary of the James Oliver account books, 1865-1890 - Archives of American Art, Smithsonian Institution". si.edu.
^ "Art Restoration and Conservation - Oliver Brothers". Oliver Brothers Fine Art Restoration.
^ "United States Patent: 2073802".
^ U.S. Patent# 2,073,802 "Art of Oil Painting Restoration" March 16, 1937
^ [1] Archived May 9, 2008, at the Wayback Machine
^ "Alte Pinakothek [Museum - Doerner-Institut]". Archived from the original on 2008-09-26. Retrieved 2008-08-06.
^ "Istituto Centrale per il Restauro". www.icr.beniculturali.it. Archived from the original on 2003-05-05.
^ "International Council of Museums - ICOM-CC". icom-cc.org.
^ "KIK-IRPA, Brussels, Belgium - Homepage". www.kikirpa.be. Archived from the original on 2007-09-05.
^ "International Institute for Conservation of Historic and Artistic Works". iiconservation.org.
^ "ICA Art Conservation - The oldest not-for-profit regional conservation center in the US". ica-artconservation.org.
^ "Archived copy". Archived from the original on 2012-02-11. Retrieved 2008-08-06.{{cite web}}: CS1 maint: archived copy as title (link)
^ "ICCROM". iccrom.org.
^ History of Jack Willard, developed suction tables for art conservation
^ ^a ^b "American Institute for Conservation of Historic and Artistic Works". stanford.edu.
^ "Institute of Fine Arts - New York University". nyu.edu.
^ "Museum Conservation Institute Home Page". si.edu.
^ "Art Conservation Department Home Page". Archived from the original on 2007-04-27. Retrieved 2007-05-11.
^ "Heritage Preservation: Ensuring the preservation of America's cultural heritage". heritagepreservation.org.
^ "Art Conservation at the University of Delaware : Home". udel.edu.
^ "Queen's University - Department of Art". Archived from the original on 2007-03-31. Retrieved 2007-05-11.
^ "Artists' Material Center". Archived from the original on 2008-07-19. Retrieved 2008-08-06.
^ "UT School of Information - Former PCS". Archived from the original on 2008-07-04. Retrieved 2008-08-06.
^ "About the Conservation Institute". getty.edu.
^ "RAP". rap-arcc.org.
^ "UCLA/Getty Program in Archaeological and Ethnographic Conservation". getty.edu.
^ "Amien.org".
^ "INCCA". incca.org.

External sources for dates in the history of art conservation

Bewer, Francesca G. A Laboratory for Art: Harvard's Fogg Museum and the Emergence of Conservation in America, 1900-1950 (Cambridge, MA: Harvard Art Museum, 2010).
Stoner, J.H. (2005). Changing Approaches in Art Conservation: 1925 to the Present. In: Scientific Examination of Art: Modern Techniques in Conservation and Analysis, Arthur M. Sackler Colloquia, March 19–21, 2003, The National Academies Press, Washington, DC.
Stoner, J.H. (2000). "Are There Great Women Art Conservators". International Institute for Conservation Bulletin, No. 1,February, 3–7.
Stoner, J.H. (1998). “Documenting Ourselves: the history of 20th-century art conservation”.IIC Bulletin, 1998, No. 2, April, pp. 1–4.
Stoner, J.H. (1977). "An Oral History Archive," Museum News, 55, no. 6, July/Aug.

This page was last edited on 19 March 2024, at 03:54