Historical Painting Techniques, Materials, and Studio Practice

Foreword

One of the first events organized by the Getty Conservation Institute as

it began its activities about ten years ago was a symposium on paintings

conservation. We felt at that time that our particular approach, based on

multiple disciplines looking at a single problem, could contribute signifi­

cantly to the field of conservation. Over the course of the past years we

have continued to develop in that direction and with that belief, so it is

particularly appropriate to see these important preprints come to light for

the University of Leiden's symposium.

The history of painting techniques is by nature a multidiSCiplinary area

of study, combining research in science, conservation, and art history as

well as specific expertise in paintings. Members of each one of these pro­

fessions bring to the area their own detailed knowledge in artists' materials,

techniques, or methods, whether it be information specific to pigments,

binding media, signature style, or archival research.

The field of history of painting techniques has been evolving very rapidly

in recent years and opening enormous opportunities for further research

and connOisseurship, as this important group of papers demonstrates. Not

only scientific methods of examination but also bibliographical and archival

research are making significant contributions.

The authors of these preprints bring a wide array of expert knowledge

as well as many fresh points of view that are certain to provoke serious

questions and debate. The editors-Arie Wallert, Erma Hermens, and

Marja Peek-have assembled this volume with a most inSightful approach

and focus. So it is with a great deal of satisfaction and pleasure that we

present these papers for the study, and enjoyment, of a fascinating and

challenging field.

Miguel Angel Corzo, Director

The Getty Conservation Institute

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