Paintings
Coordinators: Tiarna Doherty, Gunnar Heydenreich
Assistant Coordinators: Tannar Ruuben, Jilleen Nadolny
Backing boards and glazing on paintings: their damping capacity in relation to shock impact and vibration
La Serie Jerónima de Zurbarán en el Monasterio de Guadalupe (Cáceres). Estudio de sus restauraciones
Shot and dropped: the conservation of a Niki de Saint Phalle Shooting Picture
Le Retable Miraflores peint par Juan de Flandes en 1496–1499 : une œuvre atypique
Analysis and conservation treatment of Vietnamese paintings
A package deal: the development of tissue gel composite cleaning at SRAL
The darkness of The nocturnal conspiracy of Claudius Civilis by Govert Flinck and Jürgen Ovens (1659 and 1662) in the Royal Palace Amsterdam
G.F. Watts’ distemper technique in Italy: a study and conservation of King Alfred Inciting the Saxons to Prevent the Landing of the Danes
CCI Lining Project: testing of lined model paintings from fractions of a second to decades
Characterisation of surface whitening in 20th century European paintings at Dudmaston Hall, United Kingdom
Recovering from destruction: the conservation, reintegration and perceptual analysis of a flood-damaged painting by John Martin
The research project: “Materials and painting techniques of painters from the north of Portugal”
Étude d’un corpus d’icônes datées des XVe et XVIe siècles conservées au musée de l’Institute of Ethiopian Studies, Université d’Addis Abeba, Éthiopie
Interdisciplinary investigation of early house paints: Picasso, Picabia and their “Ripolin” paintings – revision1
Technical examination of several portable Chinese Buddhist paintings from the Mogao Caves
Technical investigation of Rembrandt and/or studio, Saul and David, c. 1660 from the collection of the Mauritshuis
Non-destructive condition assessment of painting canvases using near infrared spectroscopy
A preliminary evaluation of artists’ and conservation varnishes for acrylic emulsion paint films
Two painted works of art on diverse supports – adopting paintings conservation methods and materials in specific cases
Liquefying oil paint: contemporary paintings in danger?
The yellowing/bleaching behaviour of oil paint: further investigations into significant colour change in response to dark storage followed by light exposure
White hazes and surface crusts in Rembrandt’s Homer and related paintings
Yellows and blues: re-examination of Vermeer forgeries
A study of the grounds used by three post-war American Artists (1954–1974): Barnett Newman, Ellsworth Kelly and Brice Marden
The restorer’s visual conception – a changing process. A Portuguese case
Sacrifice by André Masson: technical study before conservation
Filling materials for easel paintings: current formulations, traditional concerns
New approaches to surface cleaning of contemporary unvarnished oil paintings – moist sponges and cloths
Tinplate as a support for 19th century oil paintings by Francisco José Resende – choice and consequence
