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

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
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