Mixing and Matching

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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