Abstract
Paper conservators today face a growing preservation mandate that demands a comprehensive education. [1] The path required to attain the necessary knowledge and skills to preserve works on paper has changed drastically over the past two generations starting with the establishment of graduate degree-granting programs and their dynamic and responsive curricula.
Zusammenfassung
Über die Werkbank hinaus - Papierrestaurierung heute
PapierrestauratorInnen stehen heute vor wachsenden Herausforderungen, die eine umfassende Ausbildung erfordern. Ausbildungsstrukturen, die die notwendigen Kenntnisse und Fähigkeiten zur Erhaltung von Papierobjekten vermitteln, haben sich in den letzten zwei Generationen stark verändert. Akademische Ausbildungen wurden eingerichtet, deren Lehrpläne rasch neuen Anforderungen angepasst werden können. In diesem Beitrag wird ein Überblick über die Veränderungen der Ausbildungssituation für PapierrestauratorInnen in Nordamerika gegeben.
Résumé
Au-delà de son plan de travail: le restaurateur d’oeuvres graphiques de nos jours
Les restaurateurs d’oeuvres graphiques de nos jours font face à un mandat croissant de préservation qui exige une formation complète. Le chemin requis pour obtenir la connaissance et les compétences nécessaires pour pouvoir préserver des oeuvres graphiques a changé de manière radicale durant les deux dernières générations avec l’établissement de programmes d’études supérieures aux curriculum dynamiques et réactifs. Cet essai passe en revue les changements survenus dans la formation des restaurateurs d’oeuvres graphiques en Amérique du Nord.
About the author
Margaret Holben Ellis is the Eugene Thaw Professor of Paper Conservation at the Institute of Fine Arts, New York University, where she teaches the conservation treatment of prints and drawings, as well as technical connoisseurship for art historians. She served as founding Director of the Thaw Conservation Center at the Morgan Library & Museum until January 2017. She is a Fellow and current President of the American Institute for Conservation (AIC), a Fellow and past Council member of the International Institute for Conservation of Historic and Artistic Works (IIC), and an accredited Conservator/Restorer of the Institute of Conservation (Icon). Awards include the AIC Rutherford John Gettens Merit Award, 1997, the AIC Sheldon and Caroline Keck Award, 2003, and, from the American Academy in Rome, the first Rome Prize (1994) to be awarded to a conservator. In the fall of 2015 she was a Getty Conservation Institute Scholar in Residence. She has published and lectured on artists ranging from Raphael, Dürer, and Titian to Pollock, Samaras, Lichtenstein, and Dubuffet. Her research on artists’ materials and techniques is similarly wide-ranging and encompasses Day-Glo colors, Magic Markers, and Crayola crayons. She served as Editor for Philosophical and Historical Issues in the Conservation of Works of Art on Paper, published in 2014 by the Getty Conservation Institute. The 2nd edition of her book, The Care of Prints and Drawings appeared in 2017.
Acknowledgements
The author is grateful for the insight and constructive comments of the anonymous reviewers and for the constant support of paper conservation colleagues around the world.
References
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Article Note
This article includes portions of revised essays appearing in Historical Perspectives in the Conservation of Works of Art on Paper, edited by Margaret Holben Ellis, © 2014 J. Paul Getty Trust. Used with permission of the publisher.
© 2019 Walter de Gruyter GmbH, Berlin/Boston
