19th Century
A01=Matthew Hayes
Alois Hauser
Antonio Marini
archival research
art history
Author_Matthew Hayes
Bardi
Bode
Category=ABC
Category=AGA
Chapel
Charles Eastlake
chemistry
Christian Koester
Civilization of the Renaissance in Italy
cleaning
conservation
conservation history
Enlightenment
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Europe
European art
Fine Art Appreciation Day
G.B. Cavalcaselle
Gaetano Bianchi
Giotto
Giovanni Secco Suardo
Gusav Waagen
historical photographs
historiography
illustrated
Italian Renaissance
Jacob Burckhardt
Joseph Crowe
Jr.
Kaiser Friedrich
Max von Pettenkofer
minimal interventions
Molteni
National Gallery
nineteenth-century
Nymph and Shpeherd
painting
Peruzi Chapel
Pietro Edwards
pollutants
Portrait of Dante in the Bargello
restoration
retouching
Sr.
Titian
Ulisse Forn
unpublished
varnishes
Vasari
Wilhelm von Bode
Product details
- ISBN 9781606066966
- Weight: 772g
- Dimensions: 180 x 252mm
- Publication Date: 13 Jul 2021
- Publisher: Getty Trust Publications
- Publication City/Country: US
- Product Form: Paperback
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This handsomely illustrated volume traces the intersections of art history and paintings restoration in nineteenth-century Europe.
Repairing works of art and writing about them-the practices that became art conservation and art history-share a common ancestry. By the nineteenth century the two fields had become inseparably linked. While the art historical scholarship of this period has been widely studied, its restoration practices have received less scrutiny-until now.
This book charts the intersections between art history and conservation in the treatment of Italian Renaissance paintings in nineteenth-century Europe. Initial chapters discuss the restoration of works by Giotto and Titian, framed by the contemporary scholarship of art historians such as Jacob Burckhardt, G. B. Cavalcaselle, and Joseph Crowe that was redefining the earlier age. Subsequent chapters recount how paintings conservation was integrated into museum settings. The narrative uses period texts, unpublished archival materials, and historical photographs in probing how paintings looked at a time when scholars were writing the foundational texts of art history, and how, simultaneously, contemporary restorers were negotiating the appearances of these works. The book proposes a model for a new conservation history, object focused yet enriched by consideration of a wider cultural horizon.
Matthew Hayes is a paintings conservator in private practice and founding director of the Pietro Edwards Society for Art Conservation in New York City.
