From Wikipedia, the free encyclopedia

Conservation-restoration, also referred to as conservation, is a profession

devoted to the preservation of cultural heritage for the future. Conservation
activities include examination, documentation, treatment, and preventive care. All
of this work is supported by research and education.

Contents
1 Definition
2 History
2.1 Key dates
2.2 Brief history
3 Ethics
4 Specialization within the profession
5 Caring for cultural heritage
5.1 Preventive conservation
5.2 Interventive conservation
6 The conservation laboratory
7 Country by country look
7.1 United States
Removal of adherent surface deposits by physical
7.2 United Kingdom
chemical means (by cotton swab). Church of Suceviţa
8 Training Monastery, burial chamber. Romania, Suceava.
9 Associations and professional organizations
10 International cultural heritage documents
10.1 External lists
11 Further reading
12 References
13 External links
13.1 General resources
13.2 Scholarly journals
13.3 Relation to the public
13.4 Conservators in private practice that provide resources

Definition
The traditional definition of the role of the conservator involves the examination, conservation, and preservation of cultural heritage
using "any methods that prove effective in keeping that property in as close to its original condition as possible for as long as
possible."[1]

However, today the definition of the role of conservation has widened and would more accurately be described as that of ethical
stewardship.

The conservator applies some simple ethical guidelines, such as:

Minimal intervention.
Appropriate materials and methods that aim to be reversible to reduce possible problems with future treatment, investigation, and
use.
Full documentation of all work undertaken.

In order for the conservator to apply their professional expertise accordingly, they must take into account the views of the stakeholder,
the meaning of the object, and the physical needs of the material, in order to decide upon an appropriate conservation strategy.

History
Key dates
Main article: List of dates in the history of art conservation

The tradition of conservation in Europe some consider to have begun in 1565 with the restoration of the Sistine Chapel frescoes.

1
Brief history

The care for cultural patrimony has a long history within traditions of fixing and mending objects,[2] and in individual restorations of
artworks. During the 19th century, the fields of science and art became increasingly intertwined as scientists such as Michael Faraday
began to study the damaging effects of the environment to works of art. Louis Pasteur carried out scientific analysis on paint during this
time period as well.[3] However, perhaps the first organised attempt to conserve cultural patrimony was the Society for the Protection of
Ancient Buildings in the UK, influenced by the writings of John Ruskin the society was founded by William Morris and Philip Webb in
1877. During the same period a movement with similar aims had also developed in France under the direction of Eugène Viollet-le-Duc
a French architect and theorist, famous for his "restorations" of medieval buildings.

Conservation, as a distinct field of study, initially developed in Germany, when in 1888 Friedrich
Rathgen became the first chemist to be employed by a Museum, the Koniglichen Museen, Berlin
(Royal Museums of Berlin). He not only developed a scientific approach to the care of objects in
the collections, but disseminated this approach publishing a "Handbook of Conservation" in
1898.[5] The early development of conservation in any area of the world is usually linked to the
creation of positions for chemists within museums. However in the United Kingdom, pioneering
research into painting materials and conservation, ceramics, and stone conservation was
conducted by Arthur Pillans Laurie, academic chemist and Principal of Heriot Watt University
from 1900. Laurie's interests were fostered by William Holman Hunt.[6] In 1924 in the UK the
chemist Harold Plenderleith began to work at the British Museum with Dr. Alexander Scott in
the newly created Department of Scientific and Industrial Research, thus giving birth to the
conservation profession in the UK.[7] This department had been created by the museum to
address objects in the collection that had begun to rapidly deteriorate as a result of being stored
in the London Underground tunnels during the First World War. The development of this
department at the British Museum moved the focus for the development of conservation from
Germany to Britain, and in 1956 Plenderleith wrote a significant handbook called The
Since 1998, Harvard University wraps
Conservation of Antiquities and Works of Art, it was this book rather than Rathgen's that is
some of the valuable statues on its
commonly seen as the major source for the development of conservation as we know it today.
campus, such as this tortoise-borne
In the United States, the development of conservation can be traced to the Fogg Art Museum, "Chinese stele", with waterproof
and Edward Waldo Forbes, the Director of the Fogg from 1909 to 1944. He encouraged covers every winter, in order to protect
technical investigation, and was Chairman of the Advisory Committee for the first technical them from erosion caused by acid
journal, Technical Studies, in the Field of the Fine Arts, published by the Fogg from 1932 to rain.[4]
1942. Importantly he also brought onto the museum staff chemists. Rutherford John Gettens was
the first chemist in the U. S. to be permanently employed by an art museum. He worked with
George L. Stout, the founder and first editor of Technical Studies. Gettens and Stout co-authored Painting Materials: A Short
Encyclopaedia, first published in 1942 and reprinted in 1966. This compendium is still cited regularly. Only a few dates and descriptions
in Gettens' and Stout's book are now outdated.[8]

George T. Oliver, of Oliver Brothers (Est. 1850 in New York City) invented the vacuum hot table for relining paintings in 1920’s, he
filed a patent for the table in 1937.[9] Taylor's prototype table, which he designed and constructed, is still in operation.

The focus of conservation development then accelerated in Britain and America, and it was in Britain that the first International
Conservation Organisations developed. The International Institute for Conservation of Historic and Artistic Works (IIC) was
incorporated under British law in 1950 as "a permanent organization to co-ordinate and improve the knowledge, methods, and working
standards needed to protect and preserve precious materials of all kinds."[8] The rapid growth of conservation professional
organizations, publications, journals, newsletters, both internationally and in localities, has spearheaded the development of the
conservation profession, both practically and theoretically. Art historians and theorists such as Cesare Brandi have also played a
significant role in developing conservation-restoration theory. In recent years ethical concerns have been at the forefront of
developments in conservation. Most significantly has been the idea of Preventive conservation. This concept is based in part on the
pioneering work by Garry Thomson CBE, and his book the Museum Environment, first published in 1978.[10] Thomson was associated
with the National Gallery (London), it was here that he established a set of guidelines or environmental controls for the best conditions
in which objects could be stored and displayed within the Museum Environment. Although his exact guidelines are no longer rigidly
followed they did inspire this field of conservation.

Ethics
The conservator's work is guided by ethical standards. These take the form of applied ethics. Ethical standards have been established
across the world, and national and international ethical guidelines have been written. One such example is:

American Institute for Conservation Code of Ethics and Guidelines for Practice [1] (http://www.conservation-us.org
/index.cfm?fuseaction=page.viewpage&pageid=858)

Conservation OnLine's Ethical issues in conservation (http://cool.conservation-us.org/bytopic/ethics/) provides a number of articles on

ethical issues in conservation; example of codes of ethics and guidelines for professional conduct in conservation and allied fields; and

2
charters and treaties pertaining to ethical issues involving the preservation of cultural property.

Specialization within the profession

The profession of art conservation is broad and encompasses many areas of speciality. Some
specialities within art conservation would include:

Book and paper conservation

Conservation science
Electronic media conservation
Digital preservation
Film preservation
Media preservation
Phonograph record preservation
Castle gate of Krnov before
Historic preservation restoration (2001)
Architectural conservation
Historic paint analysis
Object conservation (archaeological, ethnographic, and sculptural)
Furniture conservation
Frame conservation
Natural science conservation
Paintings conservation
Metals conservation
Photograph conservation
Stained glass conservation
Textile conservation
Variable art conservation Castle gate of Krnov after restoration
(2009)

Caring for cultural heritage

Preventive conservation

Many cultural works are sensitive to environmental conditions such as temperature, humidity and exposure to light and ultraviolet light.
They must be protected in a controlled environment where such variables are maintained within a range of damage-limiting levels.
Shielding from sunlight of artifacts such as watercolour paintings for example is usually necessary to prevent fading of pigments.

Preventive conservation is an important element of museum policy and collections care. It is an essential responsibility of members of
the museum profession to create and maintain a protective environment for the collections in their care, whether in store, on display, or
in transit. A museum should carefully monitor the condition of collections to determine when an artifact requires conservation work and
the services of a qualified conservator.

Interventive conservation

Interventive Conservation refers to any act by a conservator that involves a direct

interaction between the conservator and the cultural material. These interventive
treatments could involve cleaning, stabilizing, repair, or even replacement of parts
of the original object. It is essential that the conservator should fully justify any such
work. Complete documentation of the work; carried out before, during, and after
the treatment rules out chances of later doubts.

The principal goal of a conservator is to nullify or at least reduce the rate of

deterioration of an object, this can be achieved through either non-interventive or
interventive methodologies. Interventive methodologies include all those actions
taken by the conservator to directly intervene with the material fabric of the object.
Work of preventive conservation in a rock wall with
Such actions include surface cleaning such as varnish removal, or consolidation
prehistoric paintings at the Serra da Capivara
such as securing flaking paint. Such interventive actions are carried out for a variety
National Park. The work consists of filling the cracks
of reasons including; aesthetic choices, Stabilization needs for structural integrity, or
to prevent the fragmentation of the wall.
for cultural requirements for intangible continuity.

One of the guiding principles of conservation has traditionally been the idea of reversibility, that is that all interventions with the object
should be fully reversible, and the object should be able to be returned to the state in which it was prior to the conservators intervention.
Although this concept remains a guiding principle of the profession, it is a concept that has been widely critiqued within the
conservation profession [11] and is now considered by many to be "a fuzzy concept".[12] Another important principle of conservation is
that all alterations should be well documented and should be clearly distinguishable from the original object.[13]

3
An example of a highly publicized interventive conservation effort would be the conservation work conducted on the Sistine Chapel.

The conservation laboratory

Conservators routinely use chemical and scientific analysis for the examination and
treatment of cultural works. The modern conservation lab uses equipment such as
microscopes, spectrometers, and x-ray machines to better understand objects and
their components. The data thus collected helps in deciding the conservation
treatments to be provided to the object.

Country by country look

United States

Heritage Preservation, in partnership with the Institute of Museum and Library

Services, a U.S. federal agency, produced The Heritage Health Index. The results of
this work was the report A Public Trust at Risk: The Heritage Health Index Report The Lunder Conservation Center. Conservation staff
on the State of America's Collections (http://www.heritagepreservation.org for both the Smithsonian American Art Museum and
/HHI/summary.html) , which was published in December 2005 and concluded that the National Portrait Gallery are visible to the public
immediate action is needed to prevent the loss of 190 million artifacts that are in through floor-to-ceiling glass walls that allow
need of conservation treatment. The report made four recommendations: visitors to see firsthand all the techniques that
Conservators use to examine, treat and preserve
Institutions must give priority to providing safe conditions for the collections artworks within a functioning conservation
they hold in trust. Laboratory.
Every collecting institution must develop an emergency plan to protect its
collections and train staff to carry it out.
Every institution must assign responsibility for caring for collections to members of its staff.
Individuals at all levels of government and in the private sector must assume responsibility for providing the support that will
allow these collections to survive[14]

United Kingdom

In October 2006, the Department for Culture, Media and Sport, a governmental department, authored a document: "Understanding the
Future: Priorities for England's Museums".[15] This document was based on several years of consultation aimed to lay out the
government's priorities for museums in the 21st century.

The document listed the following as priorities for the next decade:

1. Museums will fulfil their potential as learning resources (pp 7–10).

Museums will be embedded into the delivery of education in every school in the country.
Understanding of the effectiveness of museum education will be improved further and best practice built into education
programmes.
The value of museums' collections as a research resource will be well understood and better links built between the
academic community and museums.
2. Museums will embrace their role in fostering, exploring, celebrating and questioning the identities of diverse communities (pp
11–14).
The sector needs to work with partners in academia and beyond to create an intellectual framework supporting museums'
capacity to tackle issues of identity.
The museum sector must continue to develop improved practical techniques for engaging communities of all sorts.
3. Museums' collections will be more dynamic and better used (pp 15–18).
Government and the sector will find new ways to encourage museums to collect actively and strategically, especially the
record of contemporary society.
The sector will develop new collaborative approaches to sharing and developing collections and related expertise.
4. Museums' workforces will be dynamic, highly skilled and representative (pp 17–22).
Museums' governing bodies and workforces will be representative of the communities they serve.
Find more varied ways for a broader range of skills to come into museums.
Improve continuing professional development.
5. Museums will work more closely with each other and partners outside the sector (pp 23–26).
A consistent evidence base of the contribution of all kinds of museums to the full range of public service agendas will be
developed.
There will be deeper and longer lasting partnerships between the national museums and a broader range of regional
partners.
Museums' international roles will be strengthened to improve museum programmes in this country and Britain's image,
reputation and relationships abroad.

4
The conservation profession response to this report was on the whole less than favourable, the Institute of Conservation (ICON)
published their response under the title "A Failure of Vision".[16] It had the following to say:

"No sector can look with confidence to the future if its key asset is worked harder and harder across an ever broadening
range of objectives while the inputs required to sustain it are neglected."

"It is of major concern to us that the only part of this section which makes any acknowledgement of the need for greater
resourcing is the part which refers to acquisitions. The original consultation paper made quite extensive reference to the
importance of collections, the role of new technologies, and cultural property issues, but this appears to have been whittled
away in the present document."

Concluding:

"When asked by the Commons Culture Media and Sport elect Committee CMS committee what he would like to see as a
priority in the DCMS document arising from the 'Understanding the Future' consultation, Mr MacGregor responded 'I would
like to see added there the need to conserve and research the collections, so that the collections can really play the role
across the whole of the United Kingdom that they should.'

So would we."

Further to this the ICON website summary report[17] lists the following specific recommendations:

A national survey to find out what the public want from museums, what motivates them to visit them and what makes for a
rewarding visit.
A review of survey results and prioritisation of the various intrinsic, instrumental and institutional values to provide a clear basis
for a 10-year strategy
HR consultants to be brought in from the commercial sector to review recruitment, career development and working practices in
the national and regional museums.
A commitment to examine the potential for using Museum Accreditation as a more effective driver for improving recruitment,
diversity, and career development across the sector.
DCMS to take full account of the eventual findings of the current Commons Select Committee enquiry into Care of Collections in
the final version of this document
The adoption of those recommendations of the recent House of Lords enquiry into Science and Heritage which have a potential
impact on the future of museums.

In November 2008, the UK based think tank Demos published an influential pamphlet entitled 'It's a material world: caring for the
public realm',[18] in which they argue for integrating the public directly into efforts to conserve material culture, particularly that which
is in the public, their argument, as stated on page 16, demonstrates their belief that society can benefit from conservation as a paradigm
as well as a profession:

"conservators provide a paradigm not just for fixing things when they are broken, but for a wider social ethos of care,
where we individually and collectively take responsibility and action"

Training
Main article: Art conservation training

Training in conservation for many years took the form of an apprenticeship, whereby an apprentice slowly developed the necessary
skills to undertake their job. For some specializations within conservation this is still the case. However, it is more common in the field
of conservation today that the training required to become a practicing conservator comes from a recognized university course in
conservation.[19]

The University can rarely provide all the necessary training in first hand experience that an apprenticeship can, and therefore in addition
to graduate level training the profession also tends towards encouraging conservation students to spend time as an intern.

Conservation is an Interdisciplinary field as conservators have backgrounds in the fine arts, sciences (including chemistry, biology, and
materials science), and closely related disciplines, such as art history, archaeology, studio art, and anthropology. They also have design,
fabrication, artistic, and other special skills necessary for the practical application of that knowledge.

Within the various schools that teach conservation, the approach differs according to the educational and vocational system within the
country, and the focus of the school itself. This is acknowledged by the American Institute for Conservation who advise "Specific
admission requirements differ and potential candidates are encouraged to contact the programs directly for details on prerequisites,
application procedures, and program curriculum".[20]

Associations and professional organizations

Main article: Conservation associations and professional organizations

5
Societies devoted to the care of cultural heritage have been in existence around the world for many years. One early example is the
founding in 1877 of the Society for the Protection of Ancient Buildings in Britain to protect the built heritage, this society continues to
be active today.[21]

The built heritage was also at the forefront of the growth of member based organizations in the United States for example, founded in
1889, the Richmond, Virginia-based Association for the Preservation of Virginia Antiquities was the United States' first statewide
historic preservation group. In 2003, it changed its name to reflect its wider focus in statewide preservation issues.[22]

Today, professional conservators join and take part in the activities of numerous conservation associations and professional
organizations with the wider conservation field, and within their area of specialization.

These organizations exist to "support the conservation professionals who preserve our cultural heritage".[23]

This involves upholding professional standards, promoting research and publications, providing educational opportunities, and fostering
the exchange of knowledge among conservators, allied professionals, and the public.

International cultural heritage documents

Year Document Sponsor Text (English where available)

International
Congress of
1931 Athens Charter Architects and text (http://www.icomos.org/docs/athens_charter.html)
Technicians of
Historic Monuments
Conferenza
1931 Carta Di Atene Internazionale di text (http://www.tine.it/NormativaBBCC/Carte.htm#atene) (Italian)
Atene
Consiglio Superiore
Carta Italiana del
1932 Per Le Antichità e text (http://www.tine.it/NormativaBBCC/Carte.htm#consiglio) (Italian)
restauro
Belle Arti
text (http://www.getty.edu/conservation/research_resources/charters
1933 Charter of Athens IV CIAM
/charter04.html)
New Delhi text (http://www.icomos.org/unesco/delhi56.html) , text (http://www.icomos.org
1956 IX UNESCO
Recommendation /unesco/planning56.html)
Paris
1962 XII UNESCO text (http://www.icomos.org/unesco/landscapes62.html)
Recommendation
II International
Congress of
text (http://www.international.icomos.org/charters/venice_e.htm) , text
1964 Venice Charter Architects and
(http://www.international.icomos.org/e_venice.htm)
Technicians of
Historic Monuments
Paris
1964 XIII UNESCO text (http://www.icomos.org/unesco/illicit64.html)
Recommendation
text (http://www.international.icomos.org/charters/quito.htm) (Spanish), text
1967 Norms of Quito OAS
(http://www.icomos.org/docs/quito67.html)
Paris
1968 XV UNESCO text (http://www.icomos.org/unesco/works68.html)
Recommendation
1972 Paris Convention XVII UNESCO text (http://whc.unesco.org/archive/convention-en.pdf)
Paris
1972 XVII UNESCO text (http://www.icomos.org/unesco/national72.html)
Recommendation
Carta Italiana del
1972 text (http://www.tine.it/NormativaBBCC/Carte.htm#cartaitaliana) (Italian)
Restauro
Stockholm text (http://www.unep.org/Documents.multilingual/Default.asp?DocumentID=97&
1972 UNEP
Declaration ArticleID=1503)
Interamerican
Santo Domingo Seminar on the text (http://portal.iphan.gov.br/portal/baixaFcdAnexo.do?id=245) (Portuguese),
Resolution, Conservation and text (http://www.unisc.br/universidade/estrutura_administrativa/nucleos
1974
Dominican Restoration of the /npu/npu_patrimonio/legislacao/internacional/patr_cultural/resolucoes
Republic Architectural /sao_domingos_1974.pdf) (Portuguese)

6
 Heritage of the
Colonial and
Republican Periods -
OAS
Congress on the
Declaration of European
1975 text (http://www.icomos.org/docs/amsterdam.html)
Amsterdam Architectural
Heritage
European Charter
of the
1975 Council of Europe text (http://www.icomos.org/docs/euroch_e.html)
Architectural
Heritage
International
Seminar on
Charter on Cultural
1976 Contemporary text (http://www.international.icomos.org/e_touris.htm)
Tourism, Brussels
Tourism and
Humanism
Nairobi
1976 XIX UNESCO text (http://www.icomos.org/unesco/areas76.html)
Recommendation
text (http://portal.iphan.gov.br/portal/baixaFcdAnexo.do?id=250) (Portuguese),
text (http://www.unisc.br/universidade/estrutura_administrativa/nucleos
Machu Picchu /npu/npu_patrimonio/legislacao/internacional/patr_cultural/cartas
1977
Charter /machu_picchu_1977.pdf) (Portuguese), text (http://www.cubaarqueologica.org
/document/carta12.pdf) (Spanish), ref (http://148.201.96.14
/dc/ver.aspx?ns=000188854) (Spanish)
1981 Burra Charter ICOMOS text (http://www.icomos.org/australia/burra.html)
ICOMOS: Historic text (http://www.international.icomos.org/charters/gardens_e.htm) , text
1982 Florence Charter
Gardens (http://www.international.icomos.org/e_floren.htm)
Nairobi
1982 UNEP text (http://www.unep.org/Law/PDF/NairobiDeclaration1982.pdf)
Declaration
Tlaxcala
1982 ICOMOS text (http://www.icomos.org/docs/tlaxcala.html)
Declaration
text (http://portal.unesco.org/culture/en/ev.php-URL_ID=12762&
World Conference
México URL_DO=DO_PRINTPAGE&URL_SECTION=201.html) , text
1982 on Cultural Policies
Declaration (http://portal.unesco.org/culture/en/files/12762/11295421661mexico_en.pdf
- MONDIACULT
/mexico_en.pdf)
Declaration of
1983 ICOMOS text (http://www.icomos.org/docs/rome.html)
Rome
Carta della
conservazione e
1987 del restauro degli text (http://www.inforestauro.org/carta-del-restauro-1987.html) (Italian)
oggetti d'arte e di
cultura
Washington text (http://www.international.icomos.org/charters/towns_e.htm) , text
1987 ICOMOS
Charter (http://www.international.icomos.org/e_towns.htm)
Paris
1989 XXV UNESCO text (http://www.un-documents.net/folklore.htm)
Recommendation
text (http://www.international.icomos.org/e_archae.htm) , text
1990 Lausanne Charter ICOMOS / ICAHM
(http://www.international.icomos.org/charters/arch_e.pdf)
UNESCO /
text (http://www.international.icomos.org/charters/nara_e.htm) , text
1994 Nara Document ICCROM /
(http://www.international.icomos.org/naradoc_eng.htm)
ICOMOS
text (https://wcd.coe.int
/com.instranet.InstraServlet?command=com.instranet.CmdBlobGet&
Council of Europe, InstranetImage=535441&SecMode=1&DocId=517730&Usage=2) (Rec(95)3E),
European
1995 Committee of
Recommendation text (https://wcd.coe.int
Ministers
/com.instranet.InstraServlet?command=com.instranet.CmdBlobGet&
InstranetImage=536539&SecMode=1&DocId=527032&Usage=2) (Rec(95)9E)

7
 Declaration of San
1996 ICOMOS text (http://www.icomos.org/docs/san_antonio.html)
Antonio
Declaration of XI ICOMOS or text (http://portal.unesco.org/ci/en/ev.php-URL_ID=5352&
1997
Sofia XXIX UNESCO URL_DO=DO_TOPIC&URL_SECTION=201.html)
text (http://portal.iphan.gov.br:8080/vs_portal/baixaFcdAnexo.do?id=269)
(Portuguese), text (http://www.unisc.br/universidade/estrutura_administrativa
Carta de Mar del /nucleos/npu/npu_patrimonio/legislacao/internacional/patr_cultural/documentos
1997 Mercosul
Plata /mercosul.pdf) (Portuguese), text (http://www.ipatrimonio.com.ar
/index.php?option=com_content&task=view&id=34&Itemid=55) (Spanish), text
(http://puertoviejoparana.com.ar/blog/carta-de-mar-del-plata/) (Spanish)
2000 Cracow Charter text (http://www.inforestauro.org/carta-di-cracovia-2000.html) (Italian)
Declaration of
Conselho Andino,
2002 Cartagena de text (http://scm.oas.org/doc_public/ENGLISH/HIST_02/CIDI01002E04.DOC)
OAS
Indias, Colômbia
Paris
2003 XXXII UNESCO text (http://www.unesco.org/culture/ich/index.php?pg=00006)
Recommendation

External lists

External lists of international cultural heritage documents:

at ICOMOS - ICOMOS Charters and other Standards (http://www.icomos.org/docs/)

at ICOMOS - Charters Adopted by the General Assembly of ICONOS (http://www.international.icomos.org/charters.htm)

at UNESCO - Official documents (http://portal.unesco.org/ci/en/ev.php-URL_ID=1502&URL_DO=DO_TOPIC&

URL_SECTION=201.html)
at UNESCO - Normative Action (http://portal.unesco.org/culture/en/ev.php-URL_ID=34328&URL_DO=DO_TOPIC&
URL_SECTION=201.html)
at UNESCO - Legal instruments (http://portal.unesco.org/culture/en/ev.php-URL_ID=35170&URL_DO=DO_TOPIC&
URL_SECTION=-471.html)

at UN - UN Documents Cooperation Circles - Gathering a Body of Global Agreements (http://www.un-documents.net/)

at The J. Paul Getty Trust - Conservation Institute - Cultural Heritage Policy Documents (http://www.getty.edu/conservation
/research_resources/charters.html)
at Fletcher School, Tufts University - Cultural Protection Treaties and Other International Agreements (http://fletcher.tufts.edu
/multilaterals/cultural.html)
at Robert Gordon University - Documents on cultural heritage protection (http://www2.rgu.ac.uk/schools/mcrg/stdoc.htm)
at Cultural Heritage.net - Codes-Charters-Declarations (http://www.culturalheritage.net/cgi-bin/search
/hyperseek.cgi?search=CAT&Category=Technical%20Standards%3ACodes%20-%20Charter)
by JK Gillon - CULTURAL HERITAGE CHARTERS AND STANDARDS (http://gillonj.tripod.com
/culturalheritagechartersandstandards/)

at Cuba Arqueológica - Cartas Internacionales de Protección del Patrimonio (http://www.cubaarqueologica.org

/html/patrimo1.htm) (Spanish)
at IPHAN - Relação das Cartas Patrimoniais (http://portal.iphan.gov.br/portal/montarPaginaSecao.do?id=12372&
sigla=Legislacao&retorno=paginaLegislacao) (Portuguese)

Further reading
Charola, A. Elena, and Robert J. Koestler, eds. Pesticide Mitigation in Museum Collections: Science in Conservation:
Proceedings from the MCI Workshop Series (http://www.sil.si.edu/smithsoniancontributions/museumconservation
/sc_RecordSingle.cfm?filename=scmc-0001) . Smithsonian Contributions to Museum Conservation, no. 1. Washington, D.C.:
Smithsonian Institution Scholarly Press, 2010. Copies of this volume are available for free pdf download from the Smithsonian's
digital library by clicking on the included link.

References
1. ^ Walston, S. 1978. p.9 The Preservation and Conservation of 3. ^ Stoner, Joyce Hill. 2005. p. 41. “Changing Approaches in Art
Aboriginal and Pacific Cultural Material in Australian Museums. Conservation: 1925 to the present” in (Sackler NAS Colloquium)
ICCM Bulletin Vol 4 no. 1. December 1978. Institute for the Scientific Examination of Art: Modern Techniques in
Conservation of Cultural Materials (Inc). Conservation and Analysis. Proceedings of the National Academy
2. ^ Pye, E, 2001. Caring for the Past: Issues in Conservation for of Sciences. http://books.nap.edu
Archaeology and Museums. London: James and James /openbook.php?record_id=11413&page=41

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 4. '^ "Art Under Wraps (http://harvardmagazine.com/2000/03 10. ^ Museum Environment (2nd Edition), 1986, by Garry Thomson
/art-under-wraps.html) " , Harvard Magazine, March–April CBE ISBN 978-0-7506-2041-3
2000 11. ^ Andrew Oddy and Sara Carroll (eds). 1999. Reversibility -
5. ^ Gilberg, Mark. (1987) Friedrich Rathgen: The Father of Modern Does it Exist? British Museum Occasional Paper Number 135.
Archaeological Conservation. Journal of the American Institute London: British Museum.
for Conservation, Vol. 26, No. 2 (Autumn, 1987), pp. 105-120 12. ^ p. 185. Muñoz-Viñas, Salvador. 2005. Contemporary Theory of
http://cool.conservation-us.org/coolaic/jaic/articles Conservation. London: Elsevier/Butterworth Heinemann.
/jaic26-02-004_2.html 13. ^ ICOM-CC (http://icom-cc.icom.museum/Start/) International
6. ^ "Brief biography of Professor AP Laurie" Council of Museums Committee for Conservation]
(http://www.nahste.ac.uk/isaar/GB_0237_NAHSTE_P1161.html) 14. ^ Heritage Health Index (http://www.heritagepreservation.org
. http://www.nahste.ac.uk/isaar/GB_0237_NAHSTE_P1161.html. /HHI/)
7. ^ http://www.britishmuseum.org/the_museum/departments 15. ^ http://www.culture.gov.uk/images/consultations
/conservation_and_science/history.aspx /cons_uf_prioritiesforenglandsmuseums.pdf
8. ^ a b Stoner, Joyce Hill. "Changing Approaches in Art 16. ^ http://www.icon.org.uk/images/stories
Conservation: 1925 to the present". The publication exists in two /icon_understanding_the_future.pdf
editions. The earlier one is "Scientific Examination of Art: 17. ^ http://www.icon.org.uk/index.php?option=com_content&
Modern Techniques on Conservation and Analysis" and was task=view&id=400&Itemid=15
published by the National Academy of Sciences in 2003. The 18. ^ Holden, John. and Samuel Jones. 2008. It's A Material World:
later edition of the publication is "Arthur M. Sackler Colloquia: Caring for the public realm. London: Demos. http://demos.co.uk
Scientific Examination of Art: Modern Techniques in /files/Material%20World%20-%20web.pdf
Conservation and Analysis". It was published by the National 19. ^ AIC - Becoming a Conservator (http://www.conservation-us.org
Academies Press in 2005. /training)
9. ^ U.S. Patent# 2,073,802 :"Art of Oil Painting Restoration"- 20. ^ AIC - Becoming a Conservator (http://www.conservation-us.org
March 16, 1937 (http://patft1.uspto.gov/netacgi /training)
/nph-Parser?Sect1=PTO2&Sect2=HITOFF& 21. ^ SPAB: History of the SPAB (http://www.spab.org.uk/html/what-
p=1&u=%2Fnetahtml%2FPTO%2Fsearch-bool.html&r=1&f=G& is-spab/history-of-the-spab/)
l=50&co1=AND&d=PALL&s1=Oliver-George-T.INNM.& 22. ^ APVA Preservation Virginia (http://www.apva.org/)
OS=IN/Oliver-George-T&RS=IN/Oliver-George-T) 23. ^ About AIC - Overview (http://www.conservation-us.org/about)

External links
General resources

BCIN, the Bibliographic Database of the Conservation Information Network (http://www.bcin.ca/)

CAMEO: Conservation and Art Materials Encyclopedia OnLine (http://cameo.mfa.org)
Conservation OnLine (CoOL) Resources for Conservation Professionals (http://cool.conservation-us.org) , "CoOL, an online
resource operated by the Foundation of the American Institute for Conservation (http://www.conservation-us.org/foundation) is a
full text library of conservation information, covering a wide spectrum of topics of interest to those involved with the
conservation of library, archives and museum materials. It is a growing online resource for conservators, collection care
specialists, and other conservation professionals."
Centre for Cultural Materials Conservation (http://www.culturalconservation.unimelb.edu.au/) , a Department of Melbourne
University.
DOCAM — Documentation and Conservation of the Media Arts Heritage (http://www.docam.ca/) "to address the issues of
preserving and documenting digital, technological and electronic works of art."
Integrated Pest Management Working Group Website (http://www.museumpests.net/)
International Council of Museums (ICOM) Code of Ethics for Museums, 2006 (http://icom.museum/ethics.html)
museumkids/What is Art Conservation? (http://www.metmuseum.org/explore/publications/pdfs/MusKids_Conservation
/Conservation_divided.pdf) - The Metropolitan Museum of Art, 2001.
Research Resources (http://www.getty.edu/conservation/research_resources/) at the Getty Conservation Institute, including the
AATA (formerly "Art and Archaeology Technical Abstracts") search engine, bibliographies for various topics, cultural heritage
policy documents, and links to other conservation-related Web sites.
Caring for Heritage Collections Online Course. (http://www.culturalconservation.unimelb.edu.au/courses/online.html) An online
course in preventive conservation issues for museum professionals, University of Melbourne, School of Historical Studies: Centre
for Cultural Materials Conservation.
Centre de recherche et de restauration des Musées de France, C2RMF on wikipedia (French)
Theory and practice of conservation [2] (http://academic.reed.edu/art/faculty/rhyne/pubs.html#theory) .

Scholarly journals

Journal of the American Institute for Conservation (http://www.conservation-us.org/jaic)

ICOM-CC Ethnographic Newsletter (http://icom-cc.icom.museum/WG/EthnographicCollections/Newsletters/)
Victoria and Albert Museum Conservation Journal (http://www.vam.ac.uk/res_cons/conservation/journal/index.html)
Journal of Conservation and Museum Studies (http://www.ucl.ac.uk/archaeology/conservation/jcms/)
Tate Papers (http://www.tate.org.uk/research/tateresearch/tatepapers/)
Getty Conservation Institute Newsletter (http://www.getty.edu/conservation/publications/newsletters/)
The Book and Paper Group - American Institute for Conservation (http://cool.conservation-us.org/coolaic/sg/bpg/annual/)
The Abbey Newsletter (http://cool.conservation-us.org/byorg/abbey/an/index.html)
e-Preservation Science journal (http://www.e-preservationscience.org/)
e-conservation magazine (http://www.e-conservationline.com/)

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 CeROArt. on-line magazine devoted to a multidisciplinary approach to questions of Conservation, exposition, Restoration of
Objets d’Art (http://www.ceroart.org/)
Studies in Conservation (http://www.iiconservation.org/publications/sic/sic.php)
Reviews in Conservation (http://www.iiconservation.org/publications/ric/ric.php)
Journal of the Institute of Conservation (http://www.icon.org.uk/index.php?option=com_content&task=view&id=10&
Itemid=11#JOURNALS)
The Paper Conservator (http://www.icon.org.uk/index.php?option=com_content&task=view&id=10&Itemid=11#JOURNALS)
Future Anterior. Journal of Historic Preservation, History, Theory, and Criticism, GSAPP, Columbia University
(http://www.upress.umn.edu/journals/futureanterior/futureanterior.html)

Relation to the public

UPenn's Architectural Conservation Lab (http://www.conlab.org)
You be the Conservator (http://americanhistory.si.edu/kids/santos/SantosbodySet.htm)
Lunder Conservation Center (http://lunderconservation.si.edu/)
Conservation Advice Notes - Portable Antiquities Scheme (http://www.finds.org.uk/conservation/)
Objects Conservation (http://anthro.amnh.org/anthropology/collections/conservation/conservation_wiki.htm) — Provided by the
Division of Anthropology, American Museum of Natural History.
Conservation Report on Mukul Dey Archives by C. B. Gupta (http://www.chitralekha.org/cb-gupta.htm)
Public Art Restoration Services (http://www.pickupthepieces.com)
Freeview Video 'Science and Fine Art' by David Bomford of the National Gallery. A Royal Institution Lecture showing how
scientific techniques aid conservation by the Vega Science Trust. (http://www.vega.org.uk/video/programme/68)
New York Academy of Science Podcast about Ad Reinhardt's Black Painting and its restoration (http://www.nyas.org
/snc/podcastdetail.asp?id=1850)
Preserv'Art - Interactive database of products used in conservation by the CCQ (http://preservart.ccq.mcc.gouv.qc.ca
/index.aspx?langue=e)
Agents of Deterioration (http://www.liverpoolmuseums.org.uk/nof/agents/access/) - a Game from Liverpool Museum

Conservators in private practice that provide resources

Animation Art Conservation (http://www.animationartconservation.com/index.php?c=con) discusses the preservation of

animation art and has many interviews with animation artists that detail their original intent and frequently how they made their
art.
Conrad Schmitt Studios has been conserving artwork for buildings of architectural, historic, and religious significance since 1889.
EverGreene Architectural Arts, Inc. (http://www.evergreene.com) specializes in conservation and restoration practices globally.
Oliver Brothers Fine Art Restoration and Conservation, Boston-New York (http://www.oliverbrothersonline.com) has been
restoring and conserving paintings, works on paper, icons, murals, sculpture, gilded objects, and antique and contemporary picture
frames since 1850.
Retrieved from "http://en.wikipedia.org/wiki/Conservation-restoration"
Categories: Art history | Museology | Art conservation | Conservation-restoration

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