Posted: Tuesday, June 17, 2014
Sarah Scaturro and Glenn Petersen are conservators in The Costume Institute who not only contributed to the conservation of Charles James's works in Charles James: Beyond Fashion, on view through August 10, but also authored an essay for the catalogue which accompanies the exhibition. The book offers a comprehensive study of the life and work of legendary Anglo-American couturier Charles James (1906−1978) and highlights his virtuosity and inventiveness. This publication also includes early photographs and rarely seen archival items, such as muslin study pieces, dress forms, and sketches.
Posted: Tuesday, May 20, 2014
One of the recent musical instruments conserved at the Met is a twentieth-century Afghani rubāb, a short-necked lute known as the national instrument of Afghanistan. A plucked instrument, the rubāb is used in art, popular, and regional music, both as a solo instrument and as part of small musical ensembles. Prior to being displayed in The André Mertens Galleries for Musical Instruments, this object needed treatment due to losses of inlay from the fingerboard and pegbox. Additionally, this presented a good opportunity to evaluate the condition of the rawhide resonator, as this material can become more brittle over time.
Posted: Thursday, May 15, 2014
Conservation treatments are not often performed on works of art in public. The process is lengthy and requires extreme concentration, and treatments usually need to be performed in fully equipped laboratories. The sight of a work in the process of being conserved might also come as a shock to passersby; seeing a work of art in its "stripped" state—where all fills and old restorations have been removed—is like seeing a celebrity un-Photoshopped or without makeup.
Posted: Friday, July 6, 2012
In the interview with Pete Dandridge, we learned about the challenges involved in treating and displaying the delicate ivory panels from al-Humayma. The thoughtful and considerate conservation work on these pieces allows us to see amazing remnants of a large Abbasid residence located in the Hisma desert of southern Jordan. They also represent—through the figures' wardrobes and poses—a point of contact between multiple cultures.
Posted: Thursday, July 5, 2012
As registrar, Aileen Chuk organizes the arrival, installation, and return of loaned works of art for exhibitions at the Museum. I recently spoke with her about the preparations for Byzantium and Islam.
Posted: Tuesday, July 3, 2012
I recently had the opportunity to speak with Pete Dandridge, Conservator and Administrator, The Sherman Fairchild Center for Objects Conservation, about his work preparing for the exhibition.
Posted: Thursday, June 7, 2012
As discussed in an earlier post, Saint Catherine's Monastery in Sinai has been continuously inhabited since the fourth century A.D. Remarkably, a lavish figural mosaic program from the sixth century, occupying the conch of the church's apse and a surrounding triumphal arch, survives to this day.
Posted: Tuesday, December 13, 2011
As I discussed in last week's post, the first step in the creation of these ivory sculptures was for the artist to establish the conceptual placement of each chess piece within the tusk, allowing for each distinct section of ivory to be cut out. The bottom sides of several chessmen retain the parallel marks of successive saw cuts often interspersed with the less regular cuts of chisels and files used to flatten and refine the base. The underside of the Knight from the Metropolitan, for example, shows the gently arching cut of the saw on the bottom right, chisel marks across the top center, and numerous, parallel cuts that resulted from filing.
Posted: Tuesday, December 6, 2011
All works of art strive to alter the perception of the viewer. The most successful meld a unique artistic vision with a thorough understanding of materials and a command of techniques. To discern how artists do what they do so well, conservators draw on a range of resources—including contemporary records of artistic practices, archaeological evidence, previous research, direct observation, and visual and material analyses.
Posted: Tuesday, December 21, 2010
Velázquez's portrait of Philip IV, king of Spain, went back on view in the European Paintings galleries today after an absence of more than a year, following the completion of a particularly complex restoration.