By Kathleen Dardes, Andrea Rothe
This quantity offers the court cases of a world symposium equipped via the Getty Conservation Institute and the J. Paul Getty Museum, April 24–28, 1995. the 1st convention of its variety in two decades, the symposium assembled a global team of conservators of painted panels, and gave them the chance to debate their philosophies and proportion their paintings methods.
Illustrated in colour all through, this quantity offers thirty-one papers grouped into 4 subject components: wooden technology and expertise, heritage of Panel-Manufacturing strategies, historical past of the Structural Conservation of Panel work, and present methods to the Structural Conservation of Panel work.
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Extra info for The Structural Conservation of Panel Paintings
Example text
Regia 15 Poplar white poplar black Italian poplar Populus spp. P. alba P. canadensis var. serotina P. nigra P. tremula 2b, 23, 24b, 25a, 27a, 28a Cherry European cherry, wild cherry Prunus spp. P. avium 20, 26c Pear common pear Pyrus spp. P. communis 21 Oak Turkey oak holly oak, holm oak sessile oak, durmast oak pubescent oak, white oak common oak, pedunculate oak Quercus spp. Q. cerris Q. ilex Q. petraea Q. pubescens Q. robur 11 Willow white willow Salix spp. S. alba 28b Mahogany Central American mahogany Swietenia spp.
Although lignin contributes to the compressive strength of wood, cellulose provides the major contribution to tensile strength. Cellulose, hemicelluloses, and lignin are essentially permanent products synthesized by the developing wood cells soon after division in the cambium. Extractives are principally associated with heartwood formation and are located as much outside the cell wall as within. These extraneous materials are called extractives because they can be extracted from wood with the appropriate solvent with little change to the basic wood structure.
Expertise in wood T 22 Hoadley identification therefore requires at least a general familiarity with the anatomical characteristics and nomenclature of wood as well as the availability of suitable reference material for the woods being considered. It is beyond the scope of this article to present a complete treatise on wood anatomy and the identification of all woods that might be encountered in painted panels. Instead, an attempt will be made to provide a primer of the basics of wood anatomy along with routine approaches and techniques for wood identification.
The Structural Conservation of Panel Paintings by Kathleen Dardes, Andrea Rothe
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