Training in the Conservation of Paintings - Calouste Gulbenkian ...

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THE PROBLEM will only be present in an institution where actual conservation of works of art is the prime object, as it is in a museum or gallery or in the studio of a first class independent restorer. The Central Conservation Institute which we recommend would be just such an institution. That is why we feel justified in stretching our terms of reference to recommend that, since the two deficiencies of the existing set-up, the lack of regular training and the lack of a central institute, are interdependent, they should both be solved together by the establishment of a Central Conservation Institute which should also provide training. 21
3. Training in the conservation of paintings and drawings Scientific aspects of conservation 27. The term 'conservation' covers a vast range of activities. It must embrace all that is implied by 'environmental control', and the study of the physical and chemical composition and changes of all the material elements of a work of art, its support, base, pigments, media and varnishes. It includes, too, the provision of the necessary scientific and technical equipment, heating and lighting, and the air conditioning and humidification to prevent and counteract deterioration. These aspects of conservation represent, as far as may be possible, the substitution of prevention for cure; and their importance cannot be over-stated. But the contributions of this kind to the conservation of paintings must come from scientists, architects or engineers, many of whom will scarcely be in immediate contact with the individual work of art; and no institute of training in conservation could attempt to provide the scientific or technical training for such experts, who will be applying to conservation problems the scientific and technological expertise which they will have acquired elsewhere. There must, instead, be the closest possible cooperation with them, so that directors of conservation departments and restorers, may make optimum use of available scientific and technical knowledge. 28. We cannot lose sight of the scientific and technical aspects of conservation referred to above. If, as we recommend, training in the conservation of paintings and drawings is to be provided in a Central Conservation Institute which is not confined to training, that Institute will itself make use of all relevant available knowledge and research. Moreover, we consider that it should provide both for student restorers to give full weight in their training to the scientific and technical aspects of conservation and also for such scientists, technicians, architects and engineers as wish to study this branch of their subject to receive instruction in the appropriate aspects of conservation. We recognise here that one of the major assumptions on which our proposals are based is the cooperation of the Scientific Department of the National Gallery. The Central Conservation Institute which we propose is bound to depend, in its conservation and restoration work, in its training and in its research, upon the 22
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V. SUMMARY: THE FOLLOWING FIGURES H
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Appendix C: Conservation training c
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TRAINING IN THE CONSERVATION OF PAI
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