Mixing and Matching
Approaches to Retouching Paintings
Edited by Rebecca Ellison Edited by Patricia Smithen Edited by Rachel Turnbull
Paperback (Published)
(January 2010)
ISBN: 9781904982500
6.93 x 9.72 inches
Price: $80.00
In stock
This volume brings together papers from three specialist workshops on retouching techniques, organised by ICON’s Paintings Group and BAPCR at the Courtauld Institute of Art. Divided into sections on egg tempera, resin-based methods, and retouching complex surfaces, it explores the history, materials, and application of each technique. Illustrated case studies and discussions of colour matching offer both practical guidance and theoretical insights, making this an essential resource for conservators working with diverse painting media.
Methods of retouching, or inpainting, vary according to personal preference – the media, pigments and techniques used are each chosen to suit the individual object. A wealth of options is available to the practising conservator, many of which are covered in this volume. The history, development and method of application of each technique is discussed and illustrated, while additional papers explore practical and theoretical aspects of colour matching. The three sections of this book (Egg tempera retouching, Resin retouching and Retouching complex surfaces) contain material presented at three separate workshops organised by the Paintings Group of the Institute of Conservation (Icon) and the British Association of Painting Conservators-Restorers (BAPCR) and held at the Courtauld Institute of Art, London.
Foreword
Acknowledgements
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
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 B-72
Kate Lowry
Retouching with Gamblin Conservation Colours
Jill Dunkerton
Retouching complex surfaces
Introduction
Patricia Smithen
Colour theory and the application of a portable spectrophotometer for retouching
Stig Evans and Andrew Hanson
An unusual case of integration and its solution
Oriana Sartiani, Leonardo Severini, Paolo Roma and Marco Ciatti
Pushing the borders of retouching and reconstruction: can enough ever be too much?
Laurent Sozzani
An introduction to B72 retouching gels
Peter Koneczny
Properties of B72 retouching gels and their use
Peter Koneczny
Texturing fills using a silicone mould
Simon Folkes and Sophie Reddington
Retouching media for acrylic paintings
Shelley Simms, Maureen Cross and Patricia Smithen,
Foreword
Acknowledgements
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
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 B-72
Kate Lowry
Retouching with Gamblin Conservation Colours
Jill Dunkerton
Retouching complex surfaces
Introduction
Patricia Smithen
Colour theory and the application of a portable spectrophotometer for retouching
Stig Evans and Andrew Hanson
An unusual case of integration and its solution
Oriana Sartiani, Leonardo Severini, Paolo Roma and Marco Ciatti
Pushing the borders of retouching and reconstruction: can enough ever be too much?
Laurent Sozzani
An introduction to B72 retouching gels
Peter Koneczny
Properties of B72 retouching gels and their use
Peter Koneczny
Texturing fills using a silicone mould
Simon Folkes and Sophie Reddington
Retouching media for acrylic paintings
Shelley Simms, Maureen Cross and Patricia Smithen
- Edited by Rebecca Ellison
- Edited by Patricia Smithen
- Edited by Rachel Turnbull
"This publication addresses a wealth of issues surrounding retouching and will surely become a well-thumbed reference book, filling a gap in current conservation literature. Practical tips? This book has no shortage, and mine is that you make space for a copy on the studio bookshelf." The Picture Restorer 37 (Autumn 2010) 52-53
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