List of illustrations

  • Examining X-radiographs of the heads of the promenading couple in George Seurat's "A Sunday on La Grande Jatte—1884" (1884–86)
  • Cleaning Filippo Parodi's "Pietà" (c. 1686)
  • In-painting of El Greco's "Assumption of the Virgin" (1577)
  • Nondestructive examination of a pastel drawing with FTIR microscope
  • Statue of Osiris
  • Statue of Osiris, detail of back
  • Statue of Osiris, detail of statue's left side
  • Statue of Osiris, detail of the falcon head ornament at Osiris's right shoulder
  • Statue of Osiris, detail of the previously repaired join of the foot to the base
  • Statue of Osiris, detail of the join of the foot to the base after repair
  • Statue of Osiris, representative cross section of pigmented (yellow) layer
  • Statue of Osiris, representative cross section of the pigmented layer
  • Statue of Osiris, representative cross section of the pigmented layer
  • Statue of Osiris, detail of the central portion of the chest and FTIR analysis
  • Statue of Osiris, detail showing huntite
  • An Egyptian blue crystal
  • Statue of Osiris, detail of the tripartite wig cover
  • Examples of accordion bindings
  • Three books illustrated by Torii Kiyonaga
  • Books stamped with collectors' marks
  • Wraparound cardboard covers
  • Pamphlet cover into which multiple volumes were glued
  • Removing binder's tape from a Japanese printed book
  • Japanese book cloth cases
  • The Komagata Ferry
  • From "Sokkyō Kageboschi Zukushi"
  • Moses Drowning Pharaoh's Army
  • Moses Drowning Pharaoh's Army, after conservation treatment
  • Moses Drowning Pharaoh's Army, details showing restoration
  • A Strasbourg Bend watermark
  • Pharaoh's Army Drowned in the Red Sea
  • Abraham on the Road to Canaan
  • The Raising of Lazarus
  • Moses Ordering the Israelites to Collect Manna
  • Details shown in transmitted light and in normal light
  • Preliminary designs, seen in infrared light and in normal light
  • Saint John in the Wilderness
  • Saint John the Evangelist on Patmos
  • The Kitchen Scene
  • The Supper at Emmaus
  • Cristóbal Suárez de Ribera
  • Saint John in the Wilderness, diagram of the canvas weave
  • Saint John in the Wilderness, cross section of the rock in the bottom-left foreground, showing the brown-colored ground; original magnification 200 x
  • The Kitchen Scene, cross section of the light gray cloth showing the brown-colored ground, original magnification 100 x
  • The Vision of Saint John the Evangelist
  • The Vision of Saint John the Evangelist, X-ray
  • Saint John the Evangelist on Patmos, X-ray showing strong volumetric form and graphic contour lines
  • Saint John the Evangelist on Patmos, X-ray detail showing outlines along the contours of the tree
  • Saint John in the Wilderness, detail of head, showing expert handling of paint and strong volumetric form
  • Saint John in the Wilderness, X-ray detail of head, showing strong volumetric form
  • Saint John in the Wilderness, at center, X-ray detail of torso
  • Saint John in the Wilderness, at bottom left, detail of lamb showing graphic contour line along leg
  • Saint John in the Wilderness: at bottom right, X-ray detail of lamb showing graphic contour line along leg
  • The Supper at Emmaus, detail of Christ's hand
  • The Supper at Emmaus, X-ray detail of Christ's hand showing fine lines along the edges of fingers and the pattern of the "mantelillo": canvas weave
  • Saint John in the Wilderness, detail of outstretched hand with graphic contour line below
  • Saint John in the Wilderness, X-ray detail of hand showing fine lines along the edges of fingers
  • Saint John in the Wilderness, cross section taken from contour line below hand, showing a raised, tan colored line with a thin, dark blue-gray covering layer; the ground and canvas fibers are also present; original magnification 100x
  • Saint John in the Wilderness, infrared reflectogram detail of the lower right, showing a cluster of brush markings
  • Saint John the Evangelist on Patmos, detail of upper right, showing brush markings
  • Los Borrachos
  • Saint John in the Wilderness, infrared reflectogram detail of the red robe at right, showing calligraphic mark
  • Los Borrachos, infrared reflectogram
  • Saint John the Evangelist on Patmos, X-ray detail of lower left, showing two brush markings
  • Saint John the Evangelist on Patmos, X-ray detail of upper left, showing brush markings
  • Saint John in the Wilderness, detail of red drapery at right, showing a light-colored brush mark with an up-and-down gesture
  • Saint John in the Wilderness, detail showing rocks and plants
  • The Adoration of the Magi, detail showing rocks and plants
  • Saint John in the Wilderness, detail showing trees and foliage
  • Cristóbal Suárez de Ribera, detail of landscape
  • Saint John in the Wilderness, detail of vines
  • Los Borrachos, detail of vines
  • Saint John in the Wilderness, detail of rose-colored robe
  • The Adoration of the Magi, detail of blue robe
  • Saint Francis Borgia
  • Saint John the Baptist
  • Saint John in the Desert
  • Saint John in the Wilderness, detail of hand
  • Saint John in the Desert, detail showing similar adjustments in the positioning of the fingers
  • Ballet Dancers
  • 1949 photograph of Ballet Dancers
  • Ballet Dancers, X-ray
  • Ballet Dancers
  • Conservator Faye Wrubel undertakes the delicate task of cleaning around the charcoal lines that define figures
  • Removing old restorations of "Ballet Dancers" with a surgical scalpel, uncovering the original paint hidden underneath
  • Reflected invisible light micrograph of a cross section from the top of the dress of the first dancer at the lower-left corner, showing each layer in the structure of "Ballet Dancers;" original magnification 100x
  • Scanning electron micrograph, in backscattered electron mode, of a cross section of "Ballet Dancers" from the top of the dress of the first dancer at the lower-left corner.
  • Ballet Dancers
  • Ballet Dancers
  • Wrubel in-painting "Ballet Dancers
  • Ballet Dancers
  • Crazy Quilt with Animals
  • Crazy Quilt with Animals, Post-treatment detail featuring examples of an emroidered butterfly and flowers, decorative fragment joining stitches, and appliquéd birds
  • Crazy Quilt with Animals, detail showing the quilt's central rooster in its preconserved state
  • Crazy Quilt with Animals, detail of the colorful bird immediately below the central rooster, showing the loss of silk warps from the cotton weft of the satin ground weave
  • Crazy Quilt with Animals, after conservators removed the machine stitching along the quilt's edges
  • Crazy Quilt with Animals, the reverse of the quilt top after all the dyed repair silks had been underlaid and sewn into place
  • Truth
  • Truth I
  • Truth, detail of lower-right corner, showing optical grays and gentle indentations created with a palette knife
  • Truth, detail of upper-right corner, with feathered brushwork
  • Truth, detail of head and neck, revealing initial pink modelling surrounded by later reworking in pale yellow
  • Truth, detail of face with diagonal oil-stick strokes in cheek and wiped-thin gray layer below cheekbone
  • Truth, detail of legs, showing the oscillating colors of the contour lines and the overlying grid lines in pencil
  • Truth, detail of stomach, revealing the shimmering highlights achieved with a palette knife and later scraping
  • Truth, detail under ultraviolet light
  • Truth, infrared reflectogram from reverse showing initial sketch
  • Study for Truth
  • Study for Truth with computer overlay of the contour of the initial sketch
  • Hand and figure study for Truth
  • Cross section of a paint sample close to the elbow of Truth's proper right arm: a visible reflected light image showing Hodler's use of Raffaëlli oil sticks over several layers of paint; original magnification 200 x
  • Cross section of a paint sample close to the elbow of Truth's proper right arm photographed under ultraviolet illumination, revealing the peculiar fluorescence of the oil sticks' zinc white pigment; original magnification 200 x
  • Cross section pf a paint sample close to the elbow of Truth's proper right arm: scanning electron micrograph in backscattered electron mode
  • FTIR spectrum of the Raffaëlli oil-stick layer
  • Sketch for Day/Truth
  • Young People Consulting Truth (Jeunes gens consultant la verité)
  • Idea sketch for triptych Day/Truth
  • Sketch for Day/Truth
  • Day I
  • Nuda Veritas (Naked Truth)
  • Georgia O'Keeffe
  • Portrait of Alfred Stieglitz
  • Georgia O'Keeffe
  • Alfred Stieglitz and Georgia O'Keeffe
  • Self-portrait with Brush and Palette
  • Georgia O'Keeffe
  • The Fountain of Time, shortly after its completion in 1922
  • Lorado Taft (at bottom left) and his assistants unmolding one section of the full-size plaster cast
  • Back of The Fountain of Time, showing an all-over darkened, dirty surface with graffiti and white lime leaching from vertical cracks
  • The Fountain of Time, detail of a soldier's head showing the loss of cement paste from between the pieces of aggregate, giving the sculpture a pebbly appearance
  • The Fountain of Time, detail of the base of the figure of Time, showing a network of large and small cracks with light patches of old repairs
  • The Fountain of Time, massive enclosure and extensive scaffolding enabling conservation to work year round
  • Upper level of scaffolding affords a close-up view of the central figural group, cleaned but compromised by years of exposure to Chicago's harsh climate
  • A cross section of the monument shows the interior cavities with the second level reached by a ladder, the restored roof beams, and the placement of the new 'whale ribs' to further support the sculptural outer shell
  • The Fountain of Time, shoring one of the concrete beams on the second-level ceiling
  • The back of The Fountain of Time, showing, at center, one of the vertical cracks between sections that was reconfigured as a moving join; to both sides are repaired casting cracks
  • The Fountain of Time, well-preserved area showing color of the original paste
  • The Fountain of Time, photo showing early experiment in resurfacing
  • Standing on the sculpture's top level, Herbert George and Andrzej Dajnowski discuss resurfaced area
  • Part of the conservation team discusses the resurfacing issue. Members include, from left to right, Rossana Ioppolo, Barbara Hall, Andrzej Dajnowski, Michael Fus, and Beata Ivnska Polek
  • The Fountain of Time, resurfaced and restored
  • The figure of Time, surrounded by a protective fence, awaits the restoration of the reflective pool
  • Our One Thousandth Blow, June 5, 1944, no. 10000
  • Posters in the Window of Dietetics Shop on Gorky Street
  • Poster Factory Run by Moscow Artists
  • Poster Artist with Stencil
  • Along a Familiar Path
  • Along a Familiar Path, after conservation
  • After lining, Paper Conservators Harriet Stratis and Kristi Dahm inspect the back of "Victory," May 12, 1945, nos. 1243-44
  • Conservation Technician Caesar Citraro in-paints "Victory" with an assortment of materials
  • Conservation Technician Christine Conniff O'Shea and Conservation Fellow Rebecca Pollak encapsulate "Our One Thousandth Blow" after treatment was complete
  • Art Makeup
  • Magnified image of a laserdisc, CD, and DVD
  • The Truck
  • Family of Robot: Baby
  • Good Boy Bad Boy
  • Bill Brand and Stephen Vitello in Brand's New York studio
  • Inasmuch As It Is Always Already Taking Place
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Description: Conservation at the Art Institute of Chicago
The Art Institute of Chicago takes seriously its mission to collect, research, preserve, and display representative examples of the world’s artistic legacy for the benefit of the public. This is a grave responsibility, and nothing we do is more important. Critical to this enterprise are the efforts of our conservators, who collaborate with our curators to assess the condition and...
Description: Conservation at the Art Institute of Chicago
The conservators at the Art Institute of Chicago are pleased to present the first issue of Museum Studies devoted to conservation-related topics. The following essays offer a behind-the-scenes view of our work at the museum, where staff with diverse areas of expertise treat and research objects of every age, medium, and origin. The articles themselves range from detailed descriptions of...

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Description: Conservation at the Art Institute of Chicago
The inhabitants of Japan’s large premodern cities were highly literate consumers of printed illustrated books. Records indicate that literacy levels were at 40 to 50 percent for men and about 15 percent for women by the 1860s, which included all samurai and a good number of peasants and merchants. Even if the...

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Description: Conservation at the Art Institute of Chicago
William Frank Gurley, an accomplished businessman with deep interests in art and science, gave the Art Institute almost eight thousand European and American drawings, which included a donation in honor of his mother in 1922 and a bequest in 1943. This staggering collection, filling scores of boxes, formed the early foundation of the Art Institute’s holdings of Old Master drawings....

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Description: Conservation at the Art Institute of Chicago
When the magnificent painting Saint John in the Wilderness (fig. 1) entered the Art Institute’s collection in 1957, it was attributed to Diego Velázquez...

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Description: Conservation at the Art Institute of Chicago
In 1931 the collector Frederic Clay Bartlett donated Henri de Toulouse-Lautrec’s painting Ballet Dancers to the Art Institute, where it is now exhibited in the Birch Bartlett Gallery along with other masterpieces such as Georges-Pierre Seurat’s A Sunday on La Grande Jatte...

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Description: Conservation at the Art Institute of Chicago
While covers like the Art Institute’s Florence Elizabeth Marvin quilt are often described as “crazy quilts,” both components of this term are very misleading. The word “crazy” is inappropriate unless it is understood to refer to a rather disjointed combination of various sections; it is generally...

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Description: Conservation at the Art Institute of Chicago
Kristin Hoermann Lister and Sharon L. Hirsh (Contributor) and Francesca Casadio (Contributor)
In 2003 the Art Institute acquired a painting by the Swiss artist...
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Kristin Hoermann Lister and Sharon L. Hirsh (Contributor) and Francesca Casadio (Contributor)

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Description: Conservation at the Art Institute of Chicago
Alfred Stieglitz’s portraits of his wife, Georgia O’Keeffe, which he made over a period of nearly twenty years, are perhaps his most celebrated and timeless images...

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Description: Conservation at the Art Institute of Chicago
Rising like an apparition from the west end of the Midway Plaisance on Chicago’s South Side, Lorado Taft’s colossal 1922 sculpture The Fountain of Time...

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Description: Conservation at the Art Institute of Chicago
At some point during the late 1940s, well-meaning Art Institute staff carefully collected groups of posters into dozens of neat, brown paper packages, sealed them, and tucked them away for safekeeping with little understanding of their historical significance...

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Description: Conservation at the Art Institute of Chicago
Objects conservators, trained in handling conventional materials such as metal, stone, and wood, face quite a different set of challenges in dealing with time-based media—works on film, videotape, laserdisc, CD, and DVD. This is a relatively new area of conservation, and there are still many unknowns, especially considering the rapid pace at which technology continues to advance. These media...

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Conservation at the Art Institute of Chicago
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