The conservation treatment of a small oil painting at the National Museum of Fine Arts, Hanoi

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Insights and Intuition: Abstracts of contributions to the 10th AICCM Paintings Group Symposium, 4-5 May 2006, BrisbaneEdited by Gillian Osmond
Please note, only abstracts of these papers are available – these can be accessed below; alternatively, download the abstract booklet [Adobe Acrobat PDF – 268.6 KB]. For more information about particular papers, please contact the authors directly.
Foreword
This is the tenth AICCM Paintings Group Symposium – a milestone in the life of any group. From the inaugural gathering in Ballarat, Victoria in 1988, the Paintings Group initially favoured ‘retreats’ in regional south eastern Australia. In more recent times, cities have been preferred in order to reduce the time required for travel. As the Australian and international conservation profession has grown, so too has our participation in the ever increasing number of conferences and professional development opportunities on offer throughout the world.
It is a constant challenge for AICCM with its relatively small and geographically dispersed membership to sustain a dynamic program of conferences and publications alongside the depth of international activity. However, local events remain important, and the AICCM special interest group events play a significant role in facilitating communication between conservators who may otherwise feel professionally isolated. The theme for the 2006 symposium, Insights and Intuition, covers much of what we as conservators acquire from and apply to our daily work; the range of contributions presented here reflects the typically broad nature of conservation practice in Australia today.
So, thank you to those people who have contributed to this year’s program. Without your efforts there would be no symposium. Thank you also to those who have assisted me with the task of organisation. I have appreciated the advice of many colleagues, particularly Amanda Pagliarino, whose recent experience with the Objects Special Interest Group has been extremely valuable. Anne Carter, Michael Varcoe-Cocks, Paula Dredge and John Hook have taken the time to discuss and comment on challenges along the way. Thank you also to Chris Bowen for sharing the benefit of his experience in event management and publication. Finally, I would like to acknowledge the generous support of the Queensland Art Gallery Centre for Contemporary Art Conservation in hosting this event.Gillian Osmond
Convenor, AICCM Paintings Special Interest Group, May 2006

The conservation treatment of a small oil painting at the National Museum of Fine Arts, Hanoi

Paper Author:

Fry, Caroline

Year:

2004
Abstract The National Museum of Fine Arts (Bao Tang My Thuat Viet Nam) occupies a large French colonial building located on a leafy boulevard in the French Quarter of Hanoi, the capital of Vietnam. The collection comprises artefacts dating from prehistory to the present day, and ranges from Bronze Age archaeological materials, to contemporary oil […]

Paint layers and the story of war

Paper Author:

Keany, David; Wain, Alison

Year:

2004
Abstract The Australian War Memorial has a large collection of field artillery pieces from the First World War. At first glance some of them look as though they may be painted in original First World War coatings, but closer study reveals that the upper paint layers cover metal surfaces that would have been unpainted during […]

A few insights and numerous questions concerning Max Meldrum

Paper Author:

Ellem, Alexandra

Year:

2004
Full title: A few insights and numerous questions concerning Max Meldrum and the creation, maintenance and preservation of his paintings Abstract Examination of fifteen of Max Meldrum’s paintings reveal an array of techniques and materials that speak of his compositional methods and of his concerns about the reception and longevity of his works. Gridlines or […]

The fading behaviour and colour matching of fluorescent paint

Paper Author:

Hinde, Elizabeth

Year:

2004
Abstract Fluorescent paint displays complex and unpredictable fading. The parameters that govern fading of fluorescent paint are multiple, and the multifaceted nature of this process is a direct consequence of fluorescent colours reflecting light whilst simultaneously emitting it. When a fluorescent pigment fades, it loses intensity in its fluorescence and hue; and the rate at […]

Insights into Australian Impressionism

Paper Author:

Varcoe-Cocks, Michael

Year:

2004
Abstract Exhibition description: ‘Australian Impressionism, the first exhibition since the groundbreaking and immensely popular Golden Summers: Heidelberg and beyond exhibition of 1985 (National Gallery of Victoria), will seek to redefine the subject and introduce it to a new generation. The exhibition will reunite masterpieces of Australian Impressionism from public and private collections in Australia and […]

The search for certainty: The Clifford Possum Project

Paper Author:

Johnson, Vivien

Year:

2004
Full title: The search for certainty: The Clifford Possum Project and outcomes from the study of works sourced from a convicted fraudster Abstract One of Australia’s only criminal convictions for art fraud resulting from Regina v O’Loughlin in 2001, identified 22 forged paintings. As a number of these paintings were in Museum collections, they have […]

Preliminary investigations into crystalline efflorescence on Australian and Indigenous paintings

Paper Author:

Lau, Deborah; Brunoro, Kim; Varcoe-Cocks, Michael

Year:

2004
Full title: Preliminary investigations into crystalline efflorescence on Australian and Indigenous paintings in the NGA & NGV collections g research in progresa Abstract A substantial number of paintings in Australian public and private collections have been observed to develop a whitish deposit either directly on the surface of the painting or on the interior of […]

Cleaning The Caf̩ Balzac mural

Paper Author:

Carter, Anne

Year:

2004
Abstract The Caf Balzac mural is the largest and one of the best known ‘survivors’ of the Australian Pop Movement of the early 1960’s. The work was commissioned in 1962 by Georges Mora, the proprietor of the Caf Balzac, East Melbourne. The mural was painted as individual panels by three Sydney based ‘Annandale Imitation Realists’: […]

Imaging Spectroscopy as an analysis technique for conservation

Paper Author:

Kubik, Maria E

Year:

2004
Abstract Already in extensive use in remote sensing (1) and astronomy (2), imaging spectroscopy is still in its infancy in the conservation field. To address this shortfall, research is being undertaken to adapt spectroscopic imaging to the non-destructive examination of works of art. By combining the three technologies of digital imaging, reflectance spectroscopy, and multivariate […]

New beginnings: Conservation training at the University of Melbourne

Paper Author:

Hill, Cushla; Jones-Amin, Holly; Scott, Marcelle

Year:

2004
Abstract In 2004 The Centre for Cultural Materials Conservation at the University of Melbourne began a postgraduate teaching program in Conservation, greatly expanding upon previous short-term courses already in existence through the Centre. This discussion presents the program so far, highlighting new developments in teaching conservation in the Asia-Pacific region. Using the example of the […]
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