Detail from A Young Girl by Jan Gossaert (National Gallery, London, No The painting is a small portrait of Charles IX and believed to be painted shortly after less affected by this abuse than oil paintings, which became "freckled" or "darker
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AIC PAINTINGS
SPECIALT
Y GROUP
POSTPRINT
S Paper s Presented at the Thirty-third Annual Meeting o f the American Institute for Conservation of Historic & Artistic WorksMinneapolis
, Minnesota Jun e 8-13,2005Compile
d by Helen Mar Parkin Volum e 18 2006 Th e American Institute for Conservation of Historic & Artistic Works This publication entitled 2006 AIC Paintings Specialty Group Postprints is produced by the
Painting
s Specialty Group of the American Institute for Conservation of Historic & Artistic Works (AIC). © 2006 The American Institute for Conservation of Historic & Artistic WorksPublicatio
n of this serial began in 1988. Except for Volume 3 (1990) all issues until Volume 16 are unnumbered.
ISSN 1548-7814
The papers presented in publication have been edited for clarity and content but have not undergone a formal
process of peer review. This publication is primarily intended for the members of the Paintings Specialty Group of
the American Institute for Conservation of Historic & Artistic Works. The Paintings Specialty Group is an approved
division of the American Institute for Conservation of Historic & Artistic Works, but does not necessarily represent
AIC policies or opinions. Opinions expressed in this publication are those of the contributors and not official
statements of either the Paintings Specialty Group or the American Institute for Conservation of Historic & Artistic
Works. Responsibility for the materials/methods described herein rests solely with the contributors. Additional
copies of this publication are available for purchase by contacting the Publications Manager at the American
Institut
e for Conservation of Historic and Artistic Works. The paper used in this publication meets the minimum requirements of the American National Standard for
Informatio
n Sciences - Permanence of Paper for Publication and Documents in Libraries and Archives, ANSI/NISOZ39.48-1992
The American Institute for Conservation of Historic & Artistic Works, 1717 K Street, NW, Suite 200, Washington,
D.C . 20036-5346 http://aic.stanford.eduThomson-Shor
e Book Manufacturer, Dexter, Michigan; Prepress by Chris Stavroudis; Judy Mahan, ConsultantAIC PAINTINGS
SPECIALT
Y GROUP
POSTPRINT
S Volum e 18 2006 TABL
E OF CONTENTS
Paintings Sessions:
Digital Images in Conservation Documentation: Quality, Accuracy and Potential 1David Saunders
The ImageArchiver: Image Annotation and Metatag Manipulation Software for Conservation 16Oliver Stahlmann
Your Paintings Exposed: Negatives in the Kress Collection Archive at the National Gallery of Art 23Joanna Dunn and Elizabeth Walmsley
A Translation of the Byzantine into the Northern Renaissance: 29Hayne de Bruxelles 'Madonna and Child, 1455
Scott A. Heffley
Francois Clouet and the French Renaissance: Investigating A Lady in Her Bath 35Pamela Betts
Variants of Titian s Virgin and Child in a Landscape, A Comparative Study 43Adelaide Izat
Painting with Wax in Britain and America during the Eighteenth and Early Nineteenth Centuries 53Lance Mayer and Gay Myers
Seurat and the Making o/La Grande Jatte 67
Allison Langley and Frank Zuccari
A Rubens Portrait Re-examined:
How Contemporary Copies and Historical Documentation Aided in Interpretating a Reworked Portrait 76Linnaea E. Saunders
Contemporary Encaustic Techniques - Johns, Marden, Thek 84Michael Duffy
Selected Paper from General Session:
The History of Conservation Documentation at Worcester Art Museum 94Morwenn
a Blewett5 slides/3 minutes: Artists'Idiosyncrasies and Treatment Peculiarities
Where's the Beef? A Study of Extensive Overpaint to a Nineteenth Century Painting 108Stephanie Grant
A Note on a Discolored Oil Coating on a Nineteenth-Century German Painting 111Elise Effmann
Kees van Dongen's Reclining Nude: Preliminary Notes on the Artist's Varnish 113 and an Unrelated Surface PhenomenonMorwenna Blewett and Philip Klausmeyer
Paintings without Grounds 116
Mar k Lewis The Use of a New Product to Treat Canvas Irregularities: Tight-n-Up, Its Effects on One Painting and the Treatment of Those EffectsNiccol
o Caldararo 11 7DIGITAL IMAGES IN CONSERVATION DOCUMENTATION:
QUALITY
, ACCURACY AND POTENTIAL Davi d SaundersABSTRAC
T - The paper defines the attributes of quality and accuracy for digital images and assesses the need
for these in conservation documentation. A survey of digital imaging technologies for examining and recording
paintings is illustrated with examples of infrared, X-ray, visible and raking light imaging drawn largely from
developments and practice at the National Gallery, London. The advantages of digital techniques over the analogue
techniques they often replace are examined, and the new possibilities opened by the manipulation and interactive
presentatio n of images are discussed. 1 . INTRODUCTION Twenty years ago, a handful of conservators were using computers and no-one outside the science departments of
the largest museums and galleries was using digital imaging techniques. These two decades have, therefore, seen an
immense change in this pattern of use; for better or worse, computers and digital cameras have become as much a
part of the conservation studio as easels and pigments. This is an interesting point at which to survey the advances in
the field, as something of a watershed has been reached with relatively inexpensive amateur digital cameras - these
ar e no w capabl e o f recordin g a s muc h detai l a s th e bes t 3 5 m m slid e film s use d routinel y t o documen t treatment s i n th e past Thi s doe s no t mea n tha t n o furthe r improvement s ar e possible fa r fro m it a s th e purpos e o f thi s revie w i s t o asses s th e requirement s fo r conservatio n documentation loo k a t ho w fa r curren t technique s fulfi l thes e needs an d wha t futur e development s migh t b e desirabl e t o mee t conservators expectations Th e example s dra w heavil y fro m th e author' s experienc e a t th e