Mixing & Matching

The three one-day conferences from which the papers in this title are taken were jointly hosted by Paintings Group of the Institute of Conservation (ICON) and the British Association of Painting Conservators-Restorers (BAPCR) and held at the Courtauld Institute in London in 2007. The conferences explored egg tempura retouching, resin retouching and retouching complex surfaces. The papers in this volume discuss various approaches to retouching paintings and the challenges that they present to the conservator. They cover the history behind techniques used today and also the scientific basis of conservation and restoration techniques. Contents:
Section One: Egg Tempera Retouching Introduction, Rachel Turnbull The History of Egg Tempera as a Retouching Medium, Ann Massing The Composition and Chemistry of Eggs and Egg Tempera, Alan Phenix The Art of Tempera Retouching, Mary Kempski Section Two: Resin Retouching Introduction, Rebecca Ellison Retouching Media used at the National Gallery, London, since the Nineteenth Century, Paul Ackroyd The State of Research into Retouching Resins, Spike Bucklow Properties of Pigments, Retouching Media and their Use, Peter Koneczny Retouching with a PVA Resin Medium, Sarah Cove Retouching with Paraloid B72, Kate Lowry Retouching with Gamblin Conservation Colours, Jill Dunkerton Section Three: Retouching Complex Surfaces Introduction, Patricia Smithen The use of a Portable Spectrophotometer for Retouching, Stig Evans, Andrew Hanson An Unusual Case of Integration and its Solution, Marco Ciatti, Paolo Roma Oriana Sartiani, Leonardo Severini Two Case Histories; Pushing the Border of Retouching and Reconstruction; Can enough ever be too much?, Laurent Sozzani An Introduction to B72 Retouching Gels, Peter Koneczny The Properties of B72 Retouching Gels and their use, Peter Koneczny Texturing Fills with Silicone Moulds, Simon Folkes, Sophie Reddington Retouching Media for Acrylic Paintings, Maureen Cross, Shelley Simms