This guidance is primarily intended for owners, occupiers, non-specialist building professionals, and others who take responsibility for historic buildings. It provides basic information on wall paintings and covers how to assess buildings for the potential survival of historic painted decoration. It also explains the steps that should be taken when are discovered, along with information on who to contact for assistance. Before the 20th century, wall paintings were a common form of decoration and they can survive hidden beneath later covering layers or materials. New discoveries of painted decoration within historic properties occur frequently across the country. Often, the discovery is purely accidental: during building works, or after specific events such as fire or flooding. Lack of awareness of the potential for surviving historic decoration is largely to blame for inadvertent damage and loss. Moreover, when discoveries occur during building works, there are often both financial and scheduling pressures placed on any decision-making, and this can impact on the long-term care of wall paintings. Ideally, the presence of historic decoration will have been established well in advance. This way, the building work can be organised to avoid potential damage. However, when paintings are found by accident it is important to follow some simple guidelines which are explained in more detail here, including who to contact for further advice.

La Gara is an 18th-century country estate in Jussy, a village near Geneva, Switzerland. The buildings have been carefully restored by Swiss architect Verena Best, who also added inspired touches to the interior design. The renowned Belgian landscape designer Erik Dhont reinterpreted and subtly redesigned the gardens and surrounding grounds, completed by a palindrome-like labyrinth designed by Swiss artist Markus Raetz. This new book tells the full story of the La Gara estate and illustrates its beauty. The essays investigate various aspects of its preservation and restoration of buildings and gardens and the contemporary interventions. They highlight features such as the historic watering system for the gardens and the fishponds and look at the specific Genevan garden tradition and characteristics of the rural landscape around Jussy with its biodiversity. Moreover, they contextualise La Gara with the 'ferme ornee', a villa with agricultural and ornamental features following ancient Roman models. The beautiful volume is rounded out with newly commissioned photographs by renowned Swiss photographer Georg Aerni. Text in French.

Cahors, a l'ombre des remparts medievaux, les vieux morts doivent laisser la place aux jeunes...
Une societe se juge egalement a sa maniere de traiter les morts.
Qui parmi vous souhaite prendre la place des vieux morts ?
Mais sachez que vous n'y resterez pas
N'attendez pas des futurs maires plus de mansuetude que de nos elus qui votent et appliquent les lois.
Les places sont cheres dans nos cimetieres, et meme la perpetuite s'abrege le plus rapidement possible.
Les concessions ne se vendent plus "a perpetuite" mais certains l'ont grave sur leur tombe, ce dernier bien, qu'ils avaient acquis pour leur "repos eternel." Deuxieme mort, que cette suppression d'un vieux mort qui n'a meme plus droit a une existence de mort. Trahison.
Ce "a perpetuite" photographie au cimetiere de Cahors semble voue a rapidement disparaitre... Des tombeaux, certains repertories par la Region Midi-Pyrenees au titre de notre patrimoine, restent des uvres d'art, temoins d'une epoque ou ils etaient penses pour durer mais ils seront rases des qu'ils pourront etre qualifies "abandonnes," notion non definie juridiquement, qui pourrait porter a contestations. Mais il s'agit surtout d'indignation...
67 photos professionnelles.

For millennia, people of all cultures have decorated the surfaces of their domestic, religious, and public buildings. Earthen architecture, in particular, has been, and continues to be, a common ground for surface decoration, such as paintings, sculpted bas-relief, and ornamental plasterwork. This volume explores the complex issues associated with preserving these surfaces. Case studies from Asia, Europe, Africa, the Middle East, and the Americas are presented. The publication is the result of a colloquium held in 2004 at Mesa Verde National Park, Colorado, co-organized by the Getty Conservation Institute (GCI) and the National Park Service (NPS). The meeting brought together fifty-five conservators, cultural resource managers, materials scientists, engineers, architects, archaeologists, anthropologists, and artists from eleven countries to present recent conservation work and discuss possibilities for future research and collaboration. Divided into four themes - Archaeological Sites, Museum Practice, Historic Buildings, and Living Traditions - the papers examine the conservation of decorated surfaces on earthen architecture within these different contexts. It is part of the "Getty Conservation Institute Symposium Proceedings" series.

Since the adoption of the World Heritage Convention in 1972, the notion that cultural and natural heritage need to be protected and properly utilized has gained popularity. Over time, however, such utilization concepts were less focused on ideas of sustainability and became increasingly influenced by commercial interests. For the first time, this publication attempts to elaborate the development of the World Heritage Convention, the Convention itself in its different facets and how it evolved into one of the most important UNESCO instruments for the protection of cultural and natural heritage. It will be shown that the protection and utilization of heritage is a highly complex political, participatory and interdisciplinary process. This publication discusses these developments and suggests potential solutions in order to deal with such unintended trends.

Esta obra es un manual didactico de doscientas setenta y dos paginas de facil acceso y comprension, da respuestas especificas a las acciones de preservacion y conservacion que pueden ser aplicadas a todo tipo de objetos. Transmite los conocimientos existentes en el campo de la conservacion de bienes culturales e invita al lector a ampliar su vision sobre las practicas profesionales que se desarrollan en diferentes museos. Vale tambien de referencia para cualquier persona que este dispuesta a rescatar bienes de valor afectivo y que por diferentes motivos no ha podido acceder a la capacitacion y especializacion en el area de la conservacion preventiva. Sobre los autores: Ernesto B. Marchione; Tecnico Mecanico, Conservador de Museos egresado de la Escuela Superior de Museologia de la ciudad de Rosario, Argentina. Ha desarrollado trabajos y asesoramiento en distintos museos de la ciudad y region. Augusto M. Tissera; Conservador de Museos egresado de la Escuela Superior de Museologia de la ciudad de Rosario, Argentina. Fotografo. Se desempeno en el area de Documentacion del Museo de Arte Decorativo Firma y Odilo Estevez. Y asesorando distintos museos de la ciudad y region.

With the inception of cinema, discussions relating to the preservation of film emerged in countries around the globe. Early motion picture collectors, critics, and producers justified film preservation by appealing to cinema's role as art or artifact or through the medium's capacity to document historical events. In the mid to late twentieth century, however, film preservation advocates shifted to validating their work through re-defining and celebrating cinema as cultural heritage. Saving Cinema investigates the evolution of the film preservation movement-from Hollywood studios and U.S. federal institutions, to influential international associations and small cinema collections in developing nations. Western preservation advocates have succeeded in solidifying a material, artifact-driven approach to how society approaches managing historical relics. But the digital era offers an unprecedented opportunity for change in which widespread access to historical media can, itself, be seen as moving image preservation. Saving Cinema examines the significant influence of the film preservation movement upon what has been defined as 'American' film heritage for the scholar, practitioner, and audience. Although most movie enthusiasts around the globe think Hollywood films equate the nation's cinematic output, the popularity of all types of moving images on the internet evidence what film archives have known for years-that industrial and training films, and even videos of the family cat prove just as popular as the latest blockbuster. Saving Cinema illustrates that moving image archives have not merely preserved movie history, but have, instead, actively produced cinematic heritage.

This book, written for the non-specialist, offers sound advice on the care and preservation of historic house museums as well as historic houses. It explains how to maintain these structures and their furnishings and suggests practical and inexpensive means of solving problems universal to them.

Considers the future of conservation and its connection to the human sciences. This volume brings together the findings from a five-year research project that seeks to reimagine the relationship between conservation knowledge and the humanistic study of the material world. The project, "Cultures of Conservation," was supported by the Andrew W. Mellon Foundation and included events, seminars, and an artist-in-residence. The effort to conserve things amid change is part of the human struggle with the nature of matter. For as long as people have made things and kept things, they have also cared for and repaired them. Today, conservators use a variety of tools and categories developed over the last one hundred and fifty years to do this work, but in the coming decades, new kinds of materials and a new scale of change will pose unprecedented challenges. Looking ahead to this moment from the perspectives of history, philosophy, materials science, and anthropology, this volume explores new possibilities for both conservation and the humanities in the rethinking of active matter.

The painting technique and artist's materials of the renowned Expressionist Emil Nolde (1867-1956) have been examined for the first time by an interdisciplinary team of restorers, art historians, and scientists. The research included an evaluation of Nolde's studio estate and his text sources from the perspective of art technology, as well as detailed microscopic, imaging, and material-analysis examinations of his paintings. Known as a master of coloring, the choice of canvas, primer, and paint, as well as diverse application techniques are essential to the effect of his pictures. The impressive spectrum of Nolde's working methods and his struggle to arrive at artistic solutions are explained clearly based on forty-four works from all the phases of his long career. Exhibitions: Hamburger Kunsthalle, October 16, 2021 until April 18, 2022 Emil Nolde. Meine Art zu malen..., Pinakothek der Moderne, Munich, March 31, 2022 until February 28, 2023 Presentation in the Nolde Stiftung Seebull, expected from summer 2022

Der Grundstein fur eine oeffentliche Kunstsammlung von Weltrang in Berlin wurde 1821 gelegt: Damals erwarb der preussische Staat fur das zu grundende Berliner Museum die Gemaldesammlung des Kaufmanns Edward Solly (1776-1844). Dieser kosmopolitische Kunstfreund brachte in Berlin zwischen 1815 und 1820 Tausende Gemalde vor allem aus Italien, Deutschland und den Niederlanden zusammen, viele stammten von bis dahin kaum bekannten, seitdem und bis heute aber hochgeschatzten Kunstlern. Die Ausstellung und der begleitende Katalog stellen Meisterwerke, Wiederentdeckungen und "historische Merkwurdigkeiten" in einem reprasentativen Querschnitt vor und eroeffnen den Blick in eine Zeit, die einerseits unsere Vorstellungen von Kunst und Museen pragte, andererseits doch so ganz anders auf die Werke blickte, als wir es heute tun.

Facettenreich und vielstimmig reflektiert die Festschrift fur Gabriela Krist, Restauratorin, Kunsthistorikerin und Vorstandin des Instituts fur Konservierung und Restaurierung an der Universitat fur angewandte Kunst Wien, die Entwicklung des Forschungsfelds und des Instituts. In persoenlichen, wissenschaftlichen und kunstlerischen Beitragen kommen WeggefahrtInnen, KollegInnen und Studierende zu Wort. So wird zum einen deutlich, wie Gabriela Krist das Feld der Konservierung und Restaurierung massgeblich gepragt und zu dessen internationaler und interdisziplinarer Erweiterung beigetragen hat. Zum anderen dokumentiert und eroertert der Band die Entwicklung der Profession. Unterlegt mit Daten und Fakten aus Praxis, Lehre und Forschung von zwei Jahrzehnten, wird hier Konservierung und Restaurierung neu gedacht.

Neapel und Suditalien wurden in den Jahren 1707-1734 von OEsterreichischen Vizekoenigen regiert. In diesen Jahren fanden Hauptwerke der neapolitanischen Kunst ihren Weg in die Wiener Residenzen der Vizekoenige Wirich Philipp Graf Daun und Aloys Thomas Raymund Graf Harrach, aber auch ins Obere Belvedere des Prinzen Eugen und die Sammlungen Kaiser Karl VI. Die Beitrage des Bandes zeigen, dass der intensive Austausch zwischen Neapel, Wien und Mitteleuropa tatsachlich sehr viel mehr Akteure umfasste und vom fruheren 17. bis ins 19. und sogar 20. Jahrhundert reicht. Dabei sind Hauptwerke von Paolo de Matteis, Francesco Solimena oder Filippo Falciatore genauso Gegenstand der Analyse wie aufwendige Tischdekorationen und ephemere Apparate.

We live in an age of omnipresent and calculated images; what opportunity have photographers to approach a historically charged prestigious building without the risk of being instrumentalized? Is it possible that photographs and artistic work in an empty building can say more than that the building is temporarily no longer used for its original purpose? In a cooperation project of the University of Applied Arts Vienna with the Directorate of the Austrian Parliament, students of the Department of Applied Photography and Time-Based Media had the opportunity to investigate the historic building at the Ring shortly after parliament had moved out, and to find answers to these questions.

In recent years, the emerging field of museum studies has seen rapid expansion in the critical study of museums and scholars started to question the institution and its functions. To contribute differentiated viewpoints to the currently evolving meta-discourse on the museum, this volume aims to investigate how the institution of the museum has been visualized and translated into different kinds of images and how these images have affected our perception of these institutions. In this interdisciplinary collection, scholars from a variety of academic backgrounds, including art history, heritage, museums studies and architectural history, explore a broad range of case studies stretching across the globe. The volume opens up debate about the epistemological and historiographical significance of a variety of different images and representations of the Art Museum, including the transformation or adaptation of the image of the art museum across periods and cultures. In this context, this volume aims to develop a new theoretical framework while proposing new methodological tools and resources for the analysis of museological representations on a global scale.

Design interventions for the reuse of existing structures must face the question of the past and the extent to which it should be included in the design for the future. This is the point of departure of Int | AR, a yearly publication on current issues in international adaptive reuse. When and how is material from an existing building the catalyst for art? When does art create function and program within adaptive reuse projects? How can art transform the economics of a built context? When and where does art become building and building become art? This Int | AR volume presents essays, built or unbuilt projects and ideas that investigate the relationship of art and building reuse.

Since the adoption of the World Heritage Convention in 1972, the notion that cultural and natural heritage need to be protected and properly utilized has gained popularity. Over time, however, such utilization concepts were less focused on ideas of sustainability and became increasingly influenced by commercial interests. For the first time, this publication attempts to elaborate the development of the World Heritage Convention, the Convention itself in its different facets and how it evolved into one of the most important UNESCO instruments for the protection of cultural and natural heritage. It will be shown that the protection and utilization of heritage is a highly complex political, participatory and interdisciplinary process. This publication discusses these developments and suggests potential solutions in order to deal with such unintended trends.

This is the Spanish-language edition of The Unbroken Thread. Housed in the former sixteenth-century convent of Santo Domingo Church-now the Regional Museum of Oaxaca, Mexico-is an important collection of textiles representing the area's indigenous cultures. The collection includes a wealth of exquisitely made traditional weavings, many that are now considered rare. The Unbroken Thread: Conserving the Textile Traditions of Oaxaca details a joint project of the Getty Conservation Institute and the National Institute of Anthropology and History (INAH) of Mexico to conserve the collection and to document current use of textile traditions in daily life and ceremony. The book contains 145 color photographs of the valuable textiles in the collection, as well as images of local weavers and project participants at work. Subjects include anthropological research, ancient and present-day weaving techniques, analyses of natural dyestuffs, and discussions of the ethical and practical considerations involved in working in Latin America to conserve the materials and practices of living cultures.

The Kunstkammer in Dresden's Royal Palace houses a fascinating variety of collected objects from the late Renaissance and early Baroque periods. It owes its unique collection of plain and ornate tools, for example, to the founder of the Kunstkammer, Elector August (1526-1586). They range from gardening equipment to goldsmithing, carpentry and ironworking tools and even to so-called Brechzeugen (tools for prising or breaking things open). In addition, the museum guide presents elaborately decorated art-room cabinets, two richly embellished Augsburg cabinets, tables inlaid with iridescent mother-of-pearl, precious board games, and musical instruments alongside filigree woodturned pieces, items of decorative art, and objects from distant cultures. Numerous previously unpublished masterpieces from the Kunstkammer in Dresden's Royal Palace