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

TRAINING IN THE CONSERVATION OF PAINTINGS
49. We do not therefore consider it necessary for the training of
restorers of paintings and drawings that it should be carried out in
the same institute as training in the conservation of other works of
art. We would not, however, wish to restrict the Institute's activities
in any way, especially as regards research, records and publication;
and we recognise that it may prove convenient, if an institute of
conservation is set up, for it to add also to the variety of media in
which restoration is carried out and training given. Much of the
background instruction, and much of the scientific equipment in
the Institute (which, even with the cooperation of the National
Gallery Scientific Department in more advanced research and
analysis, would be needed for day-to-day work) could economically
be snared. We would therefore not exclude the possibility of widening
the Institute's scope, which would parallel the development
which has taken place in Brussels; but we put it on record here that
purely in order to enrich the training of restorers of paintings and
drawings, we do not consider the inclusion of works of art in other
media necessary, and would not recommend it as an immediate step.
Combination of Apprenticeship and Theoretical Training
50. There is general agreement among our witnesses that an ideal
training programme would provide for practical training by the
apprenticeship method and also for the theoretical and background
instruction in the form of lectures, demonstrations and practical
classes. Whether these are given simultaneously or in succession
and whether the whole training or even the whole of the advanced
training, is given at one place or many, seems often to be a matter
of choice or opportunity; and, as can be seen from the analysis of
the courses and required qualifications of establishments where
training is given (Appendix C), there is considerable variety of
practice as regards the chronological pattern of these essential
elements. But certain considerations relating to the training of the
restorer of paintings and drawings as distinct from either the
scientist professionally employed in conservation or the conservator
of archaeological or other works of art, have emerged in the
course of our study; the most important of these is the length and
unity of the apprenticeship period, which in our view, should be
not less than four consecutive years, preferably in the same studio,
immediately before the issue of a certificate.
51. Most restorers of paintings are attracted to this work only
some years after leaving school, so that the earlier part of their
further education often has nothing to do with the technique of