the Getty Conservation Institute on how to bring to the attention of a
wider audience the various working philosophies and methods, both tradi-
tional and contemporary, that have been used for the stabilization of
painted panels. Working with an advisory group of experienced panel
painting conservators from institutions in the United States and Europe,
the Museum and the Institute developed the idea of an international meet-
ing that would address a number of key topic areas of importance to a
comprehensive treatment of this subject. These areas included aspects of
wood science and technology relevant to wooden painting supports, his-
torical methods of panel fabrication, and both historical and present-day
approaches to the structural stabilization of panel paintings. The advisory
group then identified the specialists best qualified to address these areas,
including a number ofcraftspeople with long experience in panel conser-
vation. Since many of these people had but infrequent opportunities to
publish the results of their work or to participate in international confer-
ences, their methods and techniques were not always known beyond their
own workshops. It was the skills and accomplishments of these profession-
als that the symposium particularly wanted to document. We also wanted
to afford these experts an opportunity for professional exchange with col-
leagues who had similar backgrounds and interests.
This symposium, therefore, was the first international gathering
devoted specifically to the structural stabilization ofpanel paintings.
Throughout the five days of the meeting, many different perspectives were
presented and discussed. Some reflected the traditional, time-honored
aspects of the panel conservation craft, while others were indicative of the
scientific and technical strides panel conservation has made in recent years.
It became clear to those attending the symposium that the modern conser-
vator of panel paintings has at his or her disposal an expanding body of
information and experience that melds traditional techniques, art-historical
research, and scientific discovery.
The symposium set out to present the state of the art of the
structural conservation of panel paintings. This volume, containing the
contributions of the symposium’s speakers, achieves our aim of making
this information available to a wide audience of professional colleagues.
We hope that it will also inspire further research and practical innovation
in this area.
In addition to thanking the authors for their efforts with respect to
both the symposium and this volume, the editors also would like to thank
their colleagues at the J. Paul Getty Museum and the Getty Conservation
Institute, most especially John Walsh, director of the Museum, and Miguel
Angel Corzo, director of the Institute, both of whom have enthusiastically
supported the goals of this project. Marta de la Torre, director of the
Institute’s Training Program, committed the program to the development
of this project throughout its many phases, while Deborah Gribbon, asso-
ciate director and chief curator at the Museum, supported the participation
of the Museum’s conservation and logistical staff. In addition, we would
like to acknowledge the special contributions of Brian Considine, Valerie
Dorge, Gordon Hanlon, and Mark Leonard. Sheri Saperstein assisted in the
coordination of both the symposium and this volume with her customary
flair, charm, and good humor.
The advice and guidance offered throughout the planning stages
ofthe symposium by George Bisacca of the Metropolitan Museum of Art,x