Search Results for “conservation” – The Courtauld Wed, 12 Feb 2025 17:00:35 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.1 MA Conservation of Wall Paintings /study/postgraduate/ma-conservation-of-wall-painting/ Fri, 16 Apr 2021 14:42:41 +0000 /?page_id=7528 ...be ready for a career in conservation, further conservation research, and beyond. Find out more about the department’s research. Upon completion of the MA Conservation of Wall Paintings, you will...

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91Թis a leading centre for education and research in wall painting conservation. The 3-year practical MA in Conservation of Wall Paintings will prepare you for a professional career in a field that is inclusive, interdisciplinary and international. Applicants usually have a BA or equivalent degree in the humanities or the natural sciences. The course leads to a high degree of employment upon graduation in both private practice and institutions, with many Courtauld alumni going on to make a major impact in the conservation of wall paintings and other aspects of cultural heritage through roles at leading organisations. These include the Getty Conservation Institute; International Council on Monuments and Sites (ICOMOS); ICCROM; and English Heritage.

Teaching focuses on evaluating the synergistic relationship between wall paintings, built heritage and the environment. Through a rigorous ethical and scientific framework, you will gain skills in passive, preventive and remedial conservation, and in professional practice. The MA degree offers extensive practical experience on wall painting sites, and on completion you will be able to design, evaluate and carry out conservation treatments. The course teaches the digital and organisational skills required to manage ambitious projects, both independently and in collaboration. It will equip you with critical evaluation and communication skills, so that you will be ready for a career in conservation, further conservation research, and beyond.

Find out more about thedepartment’s research.

Upon completion of the MA Conservation of Wall Paintings, you will be able to:

  • Understand, advise on, and advocate for the significance of wall paintings you are invited to examine and conserve
  • Examine and assess the original and added materials on wall paintings and their support, and evaluate intervention implications
  • Identify mechanisms of deterioration through diagnostic investigations, scientific analysis and environmental monitoring, and recommend and implement appropriate preventive and passive measures
  • Design, test and carry out a holistic wall painting conservation programme with full awareness of ethical and technical considerations, the professional context and values
  • Produce full written reports, and graphic, scientific and photographic documentation
  • Propose and undertake an research project in the field of wall painting conservation

Careers and employability

The course is designed to produce graduates who are prepared for a professional career in the conservation of wall paintings, but also will equip you with highly transferable skills for a wide range of employment opportunities, or further academic study. As well as being equipped with a detailed knowledge and understanding of the conservation of wall paintings, our graduates will gain:

· The ability to communicate effectively orally and in writing

· Intellectual independence and maturity; self-discipline and self-direction

· Project management skills, through developing, conducting, and managing conservation and research projects independently

· Ability to work in a team, collaborate and share resources.

With these skills, Courtauld graduates go on to work in a range of prominent heritage contexts such as Historic Royal Palaces, the National Trust, Historic England.

Programme Leader

Teaching and programme structure

Year 1: The first year provides a practical and theoretical foundation in the principles, ethics and practice of conserving wall paintings. Students learn about the technology and history of wall paintings, how to understand and identify deterioration phenomena, and methods for recording and documenting wall paintings. The application of scientific methods and materials science are integrated throughout the theoretical and practical courses. Several of the modules have substantial practical components to provide familiarity with materials, equipment and software. Foundations lectures in History of Art examining art from across the globe are also offered in the first year. Fieldwork introduces methodologies for conservation interventions and develops practical and manual skills. Visits to see important wall paintings in historic sites and museums are integrated with formal teaching.

Year 2: Formal instruction concentrates on diagnosis and preventive conservation, on technical examination of wall paintings and their supporting structures, and on the theory and materials of advanced remedial conservation techniques. Materials science is integrated throughout theoretical and practical courses. Students will develop research skills and learn about project management and professional practice. A substantial period of fieldwork is carried out in the second year.

Year 3: The third year is devoted to field work and a dissertation research project on an original aspect of the conservation of wall paintings. The dissertation may be on any aspect of the materials and techniques of wall paintings or of the methods or materials used in their conservation.

Assessment

Teaching: Continuity in instruction and supervision is provided by members of the department of Conservation with additional supervision and teaching by established practitioners and leading international specialists. The various teaching methods and types of work required of the students relate to the objectives of each component of the programme and include lectures, seminars with student presentations, seminars, essays, and reports. Practical work takes place in the laboratory and on site. There are also regular meetings with your personal tutor to discuss progress and general issues, and to receive feedback after presentations.

Assessment: Both formal and informal mechanisms of assessment are used. Formal assessment comprises assessed coursework and practical work with written examinations and practical oral examinations. Informal, continuous assessment is based on didactic exercises—essays, seminars, revision questions, etc.—and supervision of practical work. Students must demonstrate competence in each of the subject areas in order to progress into the second year.

At the end of the first and second years, students sit written examinations on modules and viva voce examinations on their fieldwork.

Assessment of the third year is based on the examination of the dissertation, fieldwork and an oral examination. The final degree mark is calculated from the second and third year marks.

Entry requirements

UK qualifications:Students will normally have achieved a good 2.1 in a humanities or sciences Bachelor’s degree, considered to be an overall average 65% or above.

Overseas qualification:Equivalent to a good 2.1 in a UK first degree (e.g. US applicants should have a cumulative GPA of 3.5 or above).

Interviews: The interview process consists of a personal interview before a board; tests of manual dexterity and colour vision; and a brief written test requiring comment on a variety of wall paintings.

English language requirements:If your first language is not English, we require proof of English language proficiency –please see theEnglish Language Requirements page.

Other requirements:

Previous conservation experience is not required, though some understanding of the nature of wall painting conservation is desirable. Students must have normal colour vision.

Students who do not have a degree in science will need to complete and pass an online science course in the summer prior to beginning the MA. This will be delivered online by the Courtauld.

Fees and funding

Tuition fees are available to view here.

Financial support for your studies:

Courtauld Institute of Art Scholarships: Scholarships are awarded on the basis of academic merit combined with financial need. The average postgraduate scholarship awarded in 2022/23 was £6,000. Applications are welcomed from Home, EU and Overseas students applying to or currently studying in 2023/24.

Alumni Loyalty Scheme: This scheme is open to any graduate of 91Թ admitted to a taught postgraduate programme of study. Recipients will receive a 10% loyalty discount off their tuition fee for the duration of the course.

Further information about grants, and bursaries to support you during your studies at 91Թcan be found here.

Please note students on this programme are not eligible for Master’s Loan by the UK government.

All the travel and accommodation costs for fieldwork are paid by the Department.

Support

To support you through the degree, we offer:

Wellbeing: We have a dedicated Wellbeing team, with counsellors and advisors.

Academic and practical skills: You will be offered consistent access to your personal tutor and the academic teaching staff. The small number of students allow us to create an exceptionally supportive environment.

Accessibility

The Conservation Teaching studios are in the West Wing of Somerset House, access to which is via the access-controlled doors on the Upper Terrace. For those not in possession of an Access/ID card there is an intercom connected to our 24/7 staff security control room. There is a temporary access ramp providing access into the West Wing which may not necessarily be suitable for use by, for example, wheelchair users. Thus, for those requiring level access into the Conservation Studios this can be facilitated via our main Gallery entrance between the hours of 10:00 and 18:00. The Conservation Department is located across five floors, Lower Ground Floor through to the Third Floor. The main access to each of the floors is via a staircase which is 90cm wide. There is within the department a lift which services the Lower Ground to Second Floors of the department. Access to the third floor, which houses the analytical laboratory, is via the staircase only.

Some of the teaching as well as the Library, is at our Vernon Square premises, near King’s Cross. The Vernon Square premises are fully accessible, with two internal lifts servicing all floors. There is level access throughout the premises and thus into and out of all internal rooms. Access from the street into the premises is not level and there is small incline from street to the main entrance doors. There is ramped access into the premises. The main entrance doors into the premises operate automatically.

Associated Programme Costs

As well as the general associated programme costs, students will be required to buy an LED torch. A pool of conservation fieldwork tools and equipment is also provided, although students may wish to purchase their own, costing around £150 in total. 91Թsupplies all health and safety equipment for fieldwork. It is suggested that students invest in a student railcard.

Fieldwork

The department’s fieldwork projects focus on conservation, research and teaching. A high supervisor-to-student ratio ensures that students benefit from an excellent level of supervision.

Current and past projects include:

· Longthorpe Tower, Peterborough (UK) A rare cycle of 14th-century domestic wall paintings (2019 – )

· Villa Imperiale, Pesaro (Italy) 16th-century wall paintings in a grand villa originally constructed for the Sforza family and updated by the Della Rovere family in the 16th century (2023 -)

· Nagaur Fort, Rajasthan (India) The 18th-century wall paintings decorating the Maharajah’s palaces (2005 – )

· Tamzhing Monastery, Bumthang (Bhutan) With schemes from the 16th to 20th centuries, those from the early 16th-century are thought to be the earliest surviving in the Kingdom (2012 – 2015)

· Church of the Dormition of the Virgin, Vardzia (Georgia) The late 12th-century wall paintings in the rock-cut monastery (2012 – 2015)

· Mogao Grottoes, Dunhuang (China) A site with over 500 painted cave temples dating from the 5th to 14th centuries (2006 – 2009)

· Monastery of Agios Ioannis Lampadistis, Kalopanayiotis (Cyprus) Paintings dating from the 13th to the 19th centuries (2007 – 2012)

· Crypt of the Grand Masters, St John’s Co-Cathedral, Valletta (Malta) 18th-century wall paintings by Niccolò Nasoni (2003 – 2012)

Further information on the department’s fieldwork activity can be foundhere, on our research pages.

Resources

The Conservation Department is equipped with extensive scientific laboratories and state-of-the-art facilities for the analysis of paintings and wall paintings. Both portable and bench-top equipment at the department are available for teaching and research. The department houses major collections of easel painting samples, X-radiographs, wall painting fragments and wall painting samples from around the world. It also hosts the archive of the National Wall Paintings Survey, an invaluable resource which is currently in the process of being digitised.

Students benefit from access to a wide range of research facilities at both the institute and other parts of the University of London, as well as other major libraries nearby. Close collaboration with scientists and conservators in the national museums and heritage organisations offers further opportunities for training and research.

The department is closely linked with The Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation at the Courtauld, and the specialist collection of literature on Asian art. Both the Conservation Department and the Ho Centre periodically hold conferences and public lectures in association with the Research Forum and museums and other institutions from outside The Courtauld, and benefit from contributions by Visiting Conservators.

In recognition of the excellence of The Courtauld’s MA in Conservation of Wall Paintings, The J. Paul Getty Trust awarded a $5 million endowment to support scholarships and fieldwork.

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Sustainability in Conservation /whats-on/sustainability-in-conservation/ Thu, 23 Jan 2025 15:06:11 +0000 /?post_type=events&p=142320 ...her practice is focused on the structural conservation of the paintings collection. She is also the conservation department’s lead in preventive conservation and is chair of the Gallery’s Preventive Conservation...

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Introducing the UK Museums and Heritage Sustainable Packing Group – Lynne Harrison ACR FIIC

The UK Museums and Heritage Sustainable Packing Group aims to establishnew sustainable standards for packing and transporting artworks in order tosupport loans,exhibitions and collection movement being as sustainable as possible. As a network we work collaboratively and efficiently by poolingresources and expertise across UK institutionsand workingwith external partners. We examine the materials we currently use as well as alternative materials and approaches to packing to find combinations that reduce waste and allow reuse and recycling.

Recycling in the conservation studio – Jessica Crann ACR and Wendy Millward-Woodiwis

This will be a 2-part talk concentrating on the research Jessica and Wendy did during 2022, examining how and whether conservators were currently recycling their gloves and did they have a wish to? This led to a scientific investigation of Oddy testing nitrile gloves in current use, methods of recycling and comparing conservation with other organisations such as the Royal college of Nursing who also use a lot gloves. From this study we have written and published “The Handy Glove Guide” which is available in the Icon website for anyone to use, describing what all the various symbols on a box of gloves actually mean from being safe to use when working with mould through to EU standards of safety, which we will also share. The second part of the talk will concentrate on recycling a large portion of polyester shrinkwrap used to protect railway collections that had to be stored outside at the museum Locomotion in County Durham. Did it work and what did the conservation department subsequently do with it in the pursuit of sustainability?

Co-organised by the UK Museums and Heritage Sustainable Packing Group and Clare Richardson, Head of Conservation at The Courtauld, as part of her work with the GoGreen project.

Speakers:

Lynne Harrison ACR FIIC joined the National Gallery, London as an accredited paintings conservator in 2012, where her practice is focused on the structural conservation of the paintings collection. She is also the conservation department’s lead in preventive conservation and is chair of the Gallery’s Preventive Conservation Working Group. Her research activities include the use and efficacy of microclimates, the performance of packing cases and the effects of vibration and mitigation methods for paintings. In the last two years she has extended her practice to investigate and incorporate sustainable options for greener conservation practice.

Jessica Crann ACR found a love for paper conservation after completing an Archive Conservation Traineeship at North Yorkshire County Record Office in 2007. She graduated from Northumbria in 2009 with an MA in Conservation of Fine Art, Works of Art on Paper. Having worked freelance and for various institutions she is currently an Accredited Paper Conservator working for the Science Museum Group as the Library and Archives Conservator.

Wendy Millward-Woodiw originally trained as an archaeologist and later trained as an object conservator at Durham University in 2015. Her conservation background is quite varied and she has worked for both private and public such as the National Trust as a consultant and Spencer and Fry as a filming conservator, however, her full time job is looking after the fantastic Railway collection at the National Railway Museum where she has been for 9 years. Her outlook towards conservation, preservation of collections is that as individuals we should have open, honest and have frank discussions regarding the best and most ethical way of preserving the past for the future and have an open mind to any ideas.

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MA Conservation of Easel Paintings /study/postgraduate/conservation-of-easel-paintings/ Fri, 16 Apr 2021 14:42:03 +0000 /?page_id=7526 ...private sector conservation studios and labs, or to continue studying at PhD level. The degree is taught by specialists in paintings conservation, technical art history and conservation science, with many...

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Do you want to make a difference in the care of cultural heritage, and preserve it for the future? Would you enjoy a career that combines your strong practical and manual skills with a deep intellectual understanding of paintings both in terms of art history and material science?

The MA in the Conservation of Easel Paintings is a 3-year full-time programme which will prepare you for a professional career. Its interdisciplinary nature combines art history, fine arts and the natural sciences. Applicants usually have a BA or equivalent degree in any of these subjects.

Conservation of Easel paintings at 91Թoffers the opportunity for a rigorous theoretical training that is constantly accompanied by the opportunity to put learning into practice. From the very first weeks of study, students are immersed in studio work, at first by the creation of replica paintings, and quickly moving to the closely supervised treatment of paintings from public and private collections in the UK. With access to cutting edge scientific equipment, students learn to carry out imaging and analysis that helps them to understand the materials and making of paintings. Over three years, students build a portfolio of treatment and research that allows them to apply for diverse careers in museums, research institutes and private sector conservation studios and labs, or to continue studying at PhD level.

The degree is taught by specialists in paintings conservation, technical art history and conservation science, with many years of collective experience of working in the conservation sector. This sector knowledge informs the teaching, which is tailored to the evolving needs of the profession, with the aim of producing highly employable graduates. The programme excels in developing conservators with research and critical skills that allow them to flourish in a wide range of challenging careers.

This course attracts an international student body, with a yearly intake limited to six students, which makes the teacher student ratio exceptionally high. Theoretical classes are delivered in small group seminars, and each year group is based in their own studio for practical work, sharing additional facilities for photographic imaging, scientific analysis, and specialist structural treatments.

The strong practical and intellectual focus of the degree is reflected in courses designed to build on knowledge and to develop both practical and decision-making skills underpinned by ethical and scientific principles.

After graduating you will have gained practical experience in a range of real easel paintings conservation and will be able to design, carry out and evaluate conservation treatments proficiently and independently. You will be able to interpret results from technical study and relate them to practice and will be able to plan and develop original research relating to easel painting conservation. You will gain critical and communication skills that will equip you for diverse careers in conservation and beyond.

 

Find out more about thedepartment’s research

Upon completion of the MA Conservation of Easel Paintings, you will have:

  • A sophisticated set of practical and intellectual skills for the conservation of easel paintings, learnt from a wide range of leading conservation professionals.
  • Competency in critical thinking, the analysis of objects, images, and texts, debating ideas, and concise and persuasive writing.
  • The ability to identify and evaluate the chemical, mechanical and physical properties of easel paintings and materials for conservation to inform decision making in conservation practice
  • The skills and knowledge to integrate visual evidence, your own technical study, art historical research and physical history, to establish the wider context and values embodied by a painting, present a holistic description of condition and inform conservation practice
  • Independently planned and implemented a wide variety of practical tasks as part of conservation treatments, and evaluated treatment success and personal competency
  • A broad-ranging view and understanding of the careers available in the cultural heritage sector.
  • An extensive professional network.

Careers and employability

The MA Conservation of Easel Paintings programme is designed to produce graduates who are prepared for a professional career in the conservation of easel paintings, but also will equip you with highly transferable skills, which will prepare you for a wide range of employment opportunities, or further academic study. As well as being equipped with a detailed knowledge and understanding of the conservation of easel paintings, our graduates will gain:

  • The ability to communicate effectively orally and in writing
  • Intellectual independence and maturity; self-discipline and self-direction
  • Respect for the views of others
  • Project management through developing, conducting, and managing conservation and research projects independently
  • Ability to work in a team, collaborate and share resources

With these skills, Courtauld graduates go on to jobs in the international art world, usually in private practice or in museums such as the National Gallery, the Metropolitan Museum of Art, The Getty, the National Trust, and the Royal Collection.

Students from the programme will join an international network of Courtauld alumni who work across the cultural sector and benefit from the friendships, support, and mentorship available within that community.

Programme leader

Teaching and programme structure

The full-time, three-year programme is delivered through lectures, seminars and self-directed study, integrated with a significant proportion of problem-based learning through supervised studio-based activities including conservation treatments and technical study of easel paintings.

Structure

Year 1

This year focuses on the acquisition of foundation knowledge and the development and application of scientific methods. Practical work in the studio forms a substantial part of each term, beginning with replica-making and the examination of easel paintings, and then introducing the application of principles and theory of conservation to practical conservation. Other modules focus on the theory, ethics and practice of conservation, technology and history of easel paintings, art history and technical study.

Applied science is integrated throughout theoretical and practical modules. The teaching provides a foundation for understanding and identifying the condition and conservation requirements of easel paintings.

Year 2

The majority of time in the second year is devoted to practical work in the studio, with students becoming increasingly independent in carrying out conservation work. Lectures and workshops are devoted to preventive conservation and collections care with a monitoring exercise, and advanced principles and theory of conservation.

Year 3

The majority of the academic year is spent in the conservation studio undertaking practical conservation treatments, with lectures on advanced principles and theory of conservation. One third of the final year is devoted to an independent research project resulting in a dissertation.

Assessment

Teaching: The teaching methods, modes of delivery and assessments vary according to the objectives of each module within the programme. There are a combination of lectures, seminars, practical studio sessions, workshops, and professional context visits to conservation studios and science departments, all undertaken in small classes of students. In addition, you have timetabled meetings with the tutors several times per term, both to discuss progress and general issues as well as to receive feedback after assessed work.

Throughout your degree, you will be taught by both the teaching staff of the department and professionals in the field, who bring a rich diversity of knowledge and experience to the classroom. Our faculty come from different backgrounds and are among the leading experts in their field. They have published important works about their areas of expertise and will engage you with their cutting-edge research.

Assessment: The programme involves a variety of methods of assessment:

The range of assessment methods requires students to demonstrate skills through the production of coherent written, verbal and practical responses to the questions or problems set. Assessments include essays, written exams, coursework and presentations, culminating in a viva voce examination.

At 91Թpractical work on paintings in conservation studios accounts for the majority of the degree, which is reflected in both the credit structure and assessments. Each term you will give a presentation of studio work at “Work in Progress” meetings. You will also complete written and photographic documentation for each painting you conserve, and sit a viva voce examination at the end of the programme.

You will have to pass all modules in order to progress through the programme.

Entry requirements

UK qualifications:Successful applicants will normally hold a Bachelor’s degree in either Fine Art, History of Art, or in the Natural Sciences, and have achieved a good 2.1.

Overseas qualifications:Equivalent to a good 2.1 in a UK first degree (e.g. US applicants should have a cumulative GPA of 3.5 or above).

Applications: Please see How to Apply page for information.

Further information:In your application, you will be asked questions relating to your knowledge and experience of those fields that are not your main area of study (fine art, history of art or science). Though we do not expect candidates to have deep knowledge of all three fields, a level of interest in them is essential, and evidence of aptitude in them at GCSE level can be beneficial. Equally, previous conservation experience is not required, though some understanding of the nature of paintings conservation is desirable.

Interviews:Around 18 applicants are selected for interview for six available places, plus a short waiting list. Interviews are held online.In addition to the interviews,​interviewees will be asked:​to complete a practical test to assess manual dexterity and colour matching;​to complete ashort online slide test to assess observational skills; to electronically submit a portfolio with a sample of​3-5artwork​s they havemade,​in order to demonstrate manual dexterity and some aptitude for artistic practice; to complete a colour-blindness test since students must have normal colour vision. Further information will be provided on selection for interview.

Pre-Course Science: successful candidates who have accepted their place will be required to complete an online course in science fundamentals prior to commencement of the course.

English language requirements:If your first language is not English, we require proof of English language proficiency. If you are invited to the interview, it is recommended to submit your test results before the interview. If you are unable to do so, you will be asked to submit your test results no later than the acceptance deadline. Please see theEnglish Language Requirements page.

Fees and funding

Fees are available on our Fees & Funding pages.

Fees are subject to change each academic year. Fee information, including what qualifies as home, EU, and overseas fees, can be found here.

Financial support for your studies:

Courtauld Institute of Art Scholarships:Scholarships are awarded on the basis of academic merits. The average postgraduate scholarship is £6,000. Applications are welcomed from Home, EU and Overseas students.Find out more about our scholarships.

Alumni Loyalty Scheme:This scheme is open to any graduate of 91Թ admitted to a taught postgraduate programme of study. Recipients will receive a 10% loyalty discount off their tuition fee for the duration of the course.

Further information about grants, and bursaries to support you during your studies at 91Թcan be found here.

Please note students on this programme are not eligible to apply for Master’s Loan by the UK government.

Support

To support you through the degree, we offer:

Wellbeing support: We have a dedicated Wellbeing team, with counsellors and advisors.

Academic Skills training: The academic skills tutor offers group and one-to-one classes to help you to develop the skills and confidence you need to succeed on the degree. We also have two Royal Literary Fund fellows who will help you with your writing skills – concentrating on how to structure and improve your writing.

Careers advice: You can access bespoke, one-to-one career guidance throughout your studies. 91ԹCareers Service offers advice and support on exploring career and further study options, finding internships, enhancing employability, understanding and navigating the jobs and self-employment market, and making successful applications. This service is available to all graduates for up to two years after graduation.

Resources

The Conservation Department is equipped with extensive scientific laboratories and state-of-the-art facilities for the analysis of paintings and wall paintings. Both portable and bench-top equipment at the Department are available for teaching and research. The department houses major collections of easel painting samples, X-radiographs, wall painting fragments and wall painting samples from around the world, the archive of the Survey ofHistoric Wall Paintings in the British Isles.

Students benefit from access to a wide range of research facilities at both the Institute and other parts of the University of London, as well as other major libraries nearby. Close collaboration with scientists and conservators in the national museums and heritage organisations offers further opportunities for training and research.

The Department is also closely linked withThe Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservationat the Courtauld, and the specialist collection of literature on on Asian art. Both the Conservation Department and the Ho Centre periodically hold conferences and public lectures in association with the Research Forum and museums and other institutions from outside The Courtauld, and benefit from contributions by Visiting Conservators. The department also acts as a centre for conservation and art-historical advice to outside conservators, scholars and the public.

Accessibility

The Conservation Teaching studios are in the West Wing of Somerset House, access to which is via the access-controlled doors on the Upper Terrace. For those not in possession of an Access/ID card there is an intercom connected to our 24/7 staff security control room. There is a temporary access ramp providing access into the West Wing which may not necessarily be suitable for use by, for example, wheelchair users. Thus, for those requiring level access into the Conservation Studios this can be facilitated via our main Gallery entrance between the hours of 10:00 and 18:00. The Conservation Department is located across five floors, Lower Ground Floor through to the Third Floor. The main access to each of the floors is via a staircase which is 90cm wide. There is within the department a lift which services the Lower Ground to Second Floors of the department. Access to the third floor, which houses the analytical laboratory, is via the staircase only.

Some of the teaching as well as the Library, is at our Vernon Square premises, near King’s Cross. The Vernon Square premises are fully accessible, with two internal lifts servicing all floors. There is level access throughout the premises and thus into and out of all internal rooms. Access from the street into the premises is not level and there is small incline from street to the main entrance doors. There is ramped access into the premises. The main entrance doors into the premises operate automatically.

Associated Programme Costs

Consumable conservation materials, specialist tools and equipment are provided for students’ use in the studios. However, as well as the general associated programme costs, students will need to equip themselves with a small set of tools for their personal use.

In the first year this includes a small selection of brushes, a simple surgical dissection kit, small spatula, apron, and pigment box, costing around £120 in total.

In the 2nd and 3rd years an estimated £50 per year is required to replace brushes and tools. Some students choose to build up a slightly wider range of personal tools that they then go on to use in their professional careers.

MA Conservation of Easel Painting Virtual Open Day

Meet our students

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The Robert H.N. Ho Family Foundation Centre for Buddhist Art and Conservation /research/research-areas/the-robert-h-n-ho-family-foundation-centre-for-buddhist-art-and-conservation/ Fri, 31 May 2024 10:58:12 +0000 /?page_id=123185 ...Art and Conservation Visit to Chiddingstone Castle. The Robert H.N. Ho Family Foundation Centre for Buddhist Art and Conservation Conservation practical session. The Robert H.N. Ho Family Foundation Centre for...

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Our Story & Missions

Established in 2012 with a generous endowment from The Robert H. N. Ho Family Foundation, the Centre for Buddhist Art and Conservation is dedicated to interdisciplinary and trans-cultural research and the preservation of Buddhist cultural heritage. The Centre provides a unique platform for teaching art history and conservation of Buddhist heritage, facilitating interdisciplinary research and fostering international collaborative initiatives, as well as organising conferences, workshops, and public lectures.

Recognising the global significance of the vast cultural heritage of Buddhism in both Asia and in diasporic contexts, this Centre also oversees an innovative MA programme that combines, for the first time, the disciplines of Buddhist art history, its conservation, and Buddhism. Robert Y.C. Ho, chairman of the Ho Foundation, summarised the goals of the MA programme: “Until now, Buddhism and Buddhist art and its conservation have been studied separately. We are delighted to support the integration of these fields in a new programme that will impact not only on academia but also on the preservation of irreplaceable treasures around the world, treasures we see disappearing on a daily basis.”

Begun in 2013 and relaunched in 2022, the MA programme builds upon extensive experience of The Courtauld’s Wall Painting Conservation MA programme with long-term projects and teaching in Asia – at sites in China, India, and Bhutan. One such initiative is the collaboration with the Dunhuang Academy in China at the Mogao Grottoes, a World Heritage site in northwest China.

Teaching

MA Art History and Conservation of Buddhist Heritage

Supported by the Robert H.N. Ho Family Foundation Global, the MA in Art History and Conservation of Buddhist Heritage at 91Թ is a one-year programme that focuses on the study, preservation, and appreciation of cultural heritage created for and connected to the beliefs and practices of Buddhism. Unique in its concept, this interdisciplinary course was developed to respond to Buddhist heritage under threat, filling an identified gap in conservation education by equipping students with the theoretical and ethical knowledge and skills to meet the challenges surrounding its study and conservation, and to expand the horizons of traditional art historical training. The course bridges theory and practice and investigates key issues in the conservation and art historical study of Buddhist heritage, including religious practice and use, materiality and intangible values, impermanence, traditional knowledge systems, and stakeholder engagement. Furthermore, it offers an opportunity to expose students to concepts of ecological, economic, and social sustainability related to cultural heritage through the lens of Buddhism. The course builds upon the expertise of 91Թin art history and conservation, deepening its engagement with heritage by educating the next generation of professionals who will help to expand the ways in which we think about, study, appreciate, and preserve cultural heritage.

Past Events

Conferences

The Buddhist Art Forum, held in April 2012, was motivated by several factors: admiration for Buddhist art in its many and varied manifestations; concern about how much of this art is being damaged or lost; and a sense that its study, preservation and even presentation often involves peculiar difficulties beyond those normally encountered when dealing with other types of art. This sense was fuelled by the organisers’ direct engagement in the study and conservation of Buddhist art in situ, witnessing the difficulties at first hand and the variety of strongly held attitudes by those involved.

Find out more
Early 6th-century wall paintings in Cave 260 of the Mogao Grottoes, Dunhuang (China)

Publications

Wong, Lori, and SujathaArundathiMeegama.2023. “An interdisciplinary approach: The MA program in Art History and Conservation of Buddhist Heritage at TheCourtauld.” InWorking Towards a Sustainable Past. ICOM-CC 20th Triennial Conference Preprints, Valencia, 18–22 September 2023, edited by J.Bridgland. Paris: International Council of Museums.

Park, David,KuengaWangmo, and Sharon Cather, eds. 2013.Art of Merit: Studies in Buddhist Art and its Conservation. Proceedings of the Buddhist Art Forum 2012.London: Archetype Publications.

Book Front cover i Art of Merit Studies in Buddhist Art and its Conservation

Faculty affiliated with the Centre

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The Courtauld’s Conservation Department launches new teaching and qualifications for autumn 2022 /about-us/press-office/press-releases/the-courtaulds-conservation-department-launches-new-teaching-and-qualifications-for-autumn-2022/ Mon, 06 Sep 2021 11:21:50 +0000 /?page_id=48864 91Թis extending its world-leading conservation teaching from autumn 2022, offering three newly developed curricula for three MA qualifications in Buddhist Art History and Conservation, Conservation of Wall Paintings...

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91Թis extending its world-leading conservation teaching from autumn 2022, offering three newly developed curricula for three MA qualifications in Buddhist Art History and Conservation, Conservation of Wall Paintings and the Conservation of Easel Paintings.

The MA in Buddhist Art History and Conservation is a new 12-month programme, hosted at the Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation at The Courtauld. It aims to provide a comprehensive grounding in Buddhist art history and theoretical aspects of conservation. Taught by leading specialists in conservation and Buddhist art, the MA will address issues of art history preservation — through appreciation, continuing use and conservation — of the vast heritage of Buddhist art worldwide, drawing on key sites where 91Թhas been involved in conservation. Visits to collections and sites are central to the degree.

The updated MA in Conservation of Wall Paintings will be accepting applications for the first time in five years, and aims to ensure the improved care of wall paintings through providing appropriate education in their conservation. The three-year full-time course focuses on wall painting conservation through a rigorous ethical and scientific framework for the assessment of risk, and the impact of passive, preventive and remedial conservation treatments.

The MA in the Conservation of Easel Paintings is a new qualification replacing the previous Postgraduate Diploma. It is also a three-year full-time course, which prepares students for a professional career in easel painting conservation. The strong practical and intellectual focus of the degree is reflected in courses designed to build on knowledge, and to develop both practical and decision making skills underpinned by ethical, historical and scientific principles.

Following consultation with stakeholders and international advisors from museums and private practice, new curricula in Wall and Easel Paintings Conservation reflect progress in the profession; from the use of non-invasive imaging equipment for technical analysis, which is a particular strength of the Conservation Department, to the inclusion of core modules devoted to preventive conservation and collection care. Advanced Principles and Theory in modules introduce the latest research and approaches to the conservation of modern and contemporary works of art.

In addition to three taught programmes 91Թalso offers a PhD in Conservation, with graduates focusing on a range of subjects from the technical analysis of paintings from The Courtauld’s collections, to the management of the conservation of wall paintings in Ladakh.

Dr Austin Nevin, Head of Conservation at The Courtauld, says: “I’m delighted to be able to announce these new and updated programmes, which build on The Courtauld’s track record in training some of the leading art conservators. It’s particularly exciting to be able to relaunch the MA in Wall Paintings Conservation and the MA in Buddhist Art, as part of The Courtauld’s continued drive to globalise our teaching. All three conservation courses will offer graduates unique transdisciplinary teaching and grounding in the latest techniques and methodologies, ensuring our future graduates will be well placed to make their mark on an exciting field.”

Professor Deborah Swallow, Märit Rausing Director at The Courtauld, added: “Our Conservation department has been a vital part of The Courtauld’s work since our earliest years, with many experts in the field having passed through our doors. With these new qualifications, we hope to continue that tradition, whilst also expanding into new areas. We are particularly grateful to the Robert H. N. Ho Family Foundation for their support for the MA in Buddhist Art and the J. Paul Getty Trust for the support of the Wall Paintings Programme.”

The Courtauld’s Department of Conservation is one of the very few specialist centres for the training and research in fine art conservation and technical art, and dates back to the mid-1930s. In addition to specialist work on the collections displayed in 91ԹGallery, recent Courtauld conservation projects include sites in China, India and Bhutan, as well as collaborations with national bodies including the National Trust and English Heritage, the National Gallery, National Portrait Gallery, and Tate.

91Թhas recently been awarded two grants totaling more than £2.2 million from the Arts & Humanities Research Council Capabilities for Collections Fund (CapCo) to upgrade critical scientific instrumentation for imaging and molecular analysis in the Conservation Department, and support the infrastructure development essential to further care of The Courtauld’s world-class collections. The grant has supported key areas, including equipment upgrades that underpin The Courtauld’s world-renowned art conservation research.

Applications for the Conservation courses from academic year 2022/23 will open in October 2021, and prospective students can find out more about each programme through Open Days taking place over the autumn and via The Courtauld’s website.

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The Courtauld’s Conservation Department launches new teaching and qualifications for autumn 2022 /news-blogs/2021/conservation-new-teaching-qualifications-2022/ Mon, 06 Sep 2021 11:21:25 +0000 /?p=48857 91Թis extending its world-leading conservation teaching from autumn 2022, offering three newly developed curricula for three MA qualifications in Buddhist Art History and Conservation, Conservation of Wall Paintings...

The post The Courtauld’s Conservation Department launches new teaching and qualifications for autumn 2022 appeared first on The Courtauld.

]]>

91Թis extending its world-leading conservation teaching from autumn 2022, offering three newly developed curricula for three MA qualifications in Buddhist Art History and Conservation, Conservation of Wall Paintings and the Conservation of Easel Paintings.

The MA in Buddhist Art History and Conservation is a new 12-month programme, hosted at the Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation at The Courtauld. It aims to provide a comprehensive grounding in Buddhist art history and theoretical aspects of conservation. Taught by leading specialists in conservation and Buddhist art, the MA will address issues of art history preservation — through appreciation, continuing use and conservation — of the vast heritage of Buddhist art worldwide, drawing on key sites where 91Թhas been involved in conservation. Visits to collections and sites are central to the degree.

The updated MA in Conservation of Wall Paintings will be accepting applications for the first time in five years, and aims to ensure the improved care of wall paintings through providing appropriate education in their conservation. The three-year full-time course focuses on wall painting conservation through a rigorous ethical and scientific framework for the assessment of risk, and the impact of passive, preventive and remedial conservation treatments.

The MA in the Conservation of Easel Paintings is a new qualification replacing the previous Postgraduate Diploma. It is also a three-year full-time course, which prepares students for a professional career in easel painting conservation. The strong practical and intellectual focus of the degree is reflected in courses designed to build on knowledge, and to develop both practical and decision making skills underpinned by ethical, historical and scientific principles.

Following consultation with stakeholders and international advisors from museums and private practice, new curricula in Wall and Easel Paintings Conservation reflect progress in the profession; from the use of non-invasive imaging equipment for technical analysis, which is a particular strength of the Conservation Department, to the inclusion of core modules devoted to preventive conservation and collection care. Advanced Principles and Theory in modules introduce the latest research and approaches to the conservation of modern and contemporary works of art.

In addition to three taught programmes 91Թalso offers a PhD in Conservation, with graduates focusing on a range of subjects from the technical analysis of paintings from The Courtauld’s collections, to the management of the conservation of wall paintings in Ladakh.

Dr Austin Nevin, Head of Conservation at The Courtauld, says: “I’m delighted to be able to announce these new and updated programmes, which build on The Courtauld’s track record in training some of the leading art conservators. It’s particularly exciting to be able to relaunch the MA in Wall Paintings Conservation and the MA in Buddhist Art, as part of The Courtauld’s continued drive to globalise our teaching. All three conservation courses will offer graduates unique transdisciplinary teaching and grounding in the latest techniques and methodologies, ensuring our future graduates will be well placed to make their mark on an exciting field.”

Professor Deborah Swallow, Märit Rausing Director at The Courtauld, added: “Our Conservation department has been a vital part of The Courtauld’s work since our earliest years, with many experts in the field having passed through our doors. With these new qualifications, we hope to continue that tradition, whilst also expanding into new areas. We are particularly grateful to the Robert H. N. Ho Family Foundation for their support for the MA in Buddhist Art and the J. Paul Getty Trust for the support of the Wall Paintings Programme.”

The Courtauld’s Department of Conservation is one of the very few specialist centres for the training and research in fine art conservation and technical art, and dates back to the mid-1930s. In addition to specialist work on the collections displayed in 91ԹGallery, recent Courtauld conservation projects include sites in China, India and Bhutan, as well as collaborations with national bodies including the National Trust and English Heritage, the National Gallery, National Portrait Gallery, and Tate.

91Թhas recently been awarded two grants totaling more than £2.2 million from the Arts & Humanities Research Council Capabilities for Collections Fund (CapCo) to upgrade critical scientific instrumentation for imaging and molecular analysis in the Conservation Department, and support the infrastructure development essential to further care of The Courtauld’s world-class collections. The grant has supported key areas, including equipment upgrades that underpin The Courtauld’s world-renowned art conservation research.

Applications for the Conservation courses from academic year 2022/23 will open in October 2021, and prospective students can find out more about each programme through Open Days taking place over the autumn and via The Courtauld’s website.

The post The Courtauld’s Conservation Department launches new teaching and qualifications for autumn 2022 appeared first on The Courtauld.

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Maureen Cross /people/maureen-cross/ Sat, 21 Feb 2015 11:56:20 +0000 /people/all/maureen-cross/ ...and Techniques Modern and Contemporary Paintings Conservation History and Practice of Written and Photographic Documentation Practical Paintings Techniques for Replicas Practical Conservation and Restoration of Easel Paintings Physical History of...

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Maureen was appointed in 2005 as a full-time lecturer in the conservation department. She has a joint BA Hons. in Sociology and Economics from Michigan State University and a BA Hons. in the History of Art from Hunter College: City University of New York. She worked in the curatorial department at the Brooklyn Museum of Art, before undertaking conservation fellowships at the Metropolitan Museum of Art, and Cooper Hewitt National Design Museum-Smithsonian Institution as well as work in private conservation studios in New York City. In 1996 she moved to the UK to study easel paintings conservation at the University of Northumbria, Newcastle, completing her MA with Distinction in 1998. She has since worked as a professional conservator at National Museums of Liverpool, Manchester Galleries, Tate before joining the Courtauld. Maureen became a Senior Lecturer in 2019.


Teaching 2020-21

MA in the Conservation of Easel Paintings

  • History of Artists Materials and Techniques
  • Modern and Contemporary Paintings Conservation
  • History and Practice of Written and Photographic Documentation
  • Practical Paintings Techniques for Replicas
  • Practical Conservation and Restoration of Easel Paintings
  • Physical History of Works of Art for Curators

Research interests

  • Materials and techniques of modern and contemporary artists.
  • Applied conservation research for treatment solutions


  • Recent publications

    Books and chapters in books

    • Horovitz, Isabel, Cross, Maureen, Ormsby, Bronwyn et al., ‘History and Use of Other Rigid Supports for Easel Paintings from Early Renaissance to 20th Century,’ in The Conservation of Easel Paintings. ed. J. Hill-Stoner and R. Rushfield; Butterworths-Elsevier, London (2012) Total pages in book 889; Chapter pages 51-115 (Pages of contribution 103-110)
    • Sims, Shelley, Cross, Maureen and Smithen, Patricia, ‘Acrylic Retouching’, in Mixing and Matching: Approaches to Retouching Paintings, Archetype Books, London (2010) Total pages in book 179; Chapter pages 163-179

    Essays, articles and conference proceedings

    • Polkownik, Camille, Richardson Clare, Cross, Maureen, Maisey,Sarah, ‘Lining at the National Maritime Museum and at the Courtauld Institute of Art: Past and Present,’ Contribution to the Conserving Canvas Conference, 14-17 October, Yale University & Art Gallery, ed. Schwarz et.al., Yale University and Getty Foundation Press, (2023) 1:4
    • Burnstock, Aviva, Cross, Maureen, Serres Karen, ‘Goya’s Portrait of Francisco de Saavedra: Materials, Techniques, Conservation and Context, ձ𳦳è, No 53, (2022), 40-47
    • Amato, Silvia R., Cross, Maureen, et al, ‘Examining Edouard Manet’s Le Dejeuner sur l’herbe from the Courtauld Gallery using spectral imaging techniques’, in Tales of the Unexpected in Paintings Conservation, Contribution to British Association of Picture Conservator/Restorers Conference, BAPCR, 31 January 2020, Archetype Publications, London (2020) 98-110
    • Diamond, Olympia, Barkovic, Margaret, Cross, Maureen, Ormsby, Bronwyn, ‘Pioneering Solutions: Treating Water Stains on Acrylic Paintings | Case StudyComposition,1963 by Justin Knowles’,Treatment 2017: Innovation in Conservation and Collection Care, Journal of the American Institute for Conservation, Vol 58 (3) (Spring 2019) pp 144-157
    • Amato S.R., Burnstock A., Cross M., Janssens K., Rosi F., Cartechini L., Fontana R., Dal Fovo A., Paolantoni M., Grazia C., Romani A., Michelin A., Andraud C., Tournié A., Dik J., ‘Interpreting technical evidence from spectral imaging of paintings by Edouard Manet in the Courtauld Gallery’,X-Ray Spectrometry48, no.4 (2019): 282-292. DOI:.
    • Barkovic, Margaret, Diamond, Olympia, Cross, Maureen,‘The Use of Agar Gel on Water-Stained Acrylic Canvases’, inGels in Conservation, Contributions to the IPA/Tate Conference,16-18 October, Archetype Publications, London (2017)51-55
    • Burnstock, Aviva, Cross, Maureen, Serres, Karen, ‘Insoluble Surface Spots, Metal Soaps and Challenges in the Conservation of Goya’s Portrait of Francisco de Saavedra, Contributions to ICOM-CC 18th Triennial Conference, 4-8 September, Copenhagen, Denmark: Preprints ed. J. Bridgland, art. (2017) 1301. 1-7
    • Rutka, Fiona and Cross, Maureen, ‘The Making of Fiona Rae, RA: In Conversation with a Young British Artist’,Immediations3, (3) (2014)
    • Pearson, Harriet, Cross, Maureen and Barker, R., ‘Protecting Impermanence: a preliminary investigation into the care of temporary artworks’,Immediations3, (1) (2012)
    • Brummitt, Sophie and Maureen Cross, ‘”A Painter of ‘Strong and Good Likenesses” Studying some Gilbert Stuart portraits from Saltram House’,National Trust: Arts Building Collections Bulletin, Autumn Issue (October 2011) 14
    • Ormsby, Bronwyn, Maureen Cross, Elli Kampasakali, Lise Chantrier-Aasen, Patricia Smithen, ‘An Evaluation of Artists’ and Conservation Varnishes for Acrylic Emulsion Paint Films.’ inICOM-CC 16th Triennial Conference, Lisbon, Portugal, 19-23 September 2011: Preprints, Mng.ed. Janet Bridgland, International Committee of Museums, Paris(2011) 1-11
    • Cross, Maureen, Sophie Brummitt, ‘Gilbert Stuart In Britain (1775-1787): A Technical Study of Selected Work from Saltram House, National Trust Property, Devon,’Journal of the American Institute for Conservation, 51 (2) (Fall/Winter2011) 87-104
    • Tate-Harte, Alice, Chantal-Helen Thuer and Maureen Cross, ‘Materials Focus: Funori: A New Medium for Consolidation and Retouching’,The Picture Restorer36 (Spring2010) 13-14
    • Cross, Maureen, ‘Complexities of a Woman in a Courtyard (1933)’, inModern Paints Uncovered, Contributions to the Modern Paint Uncovered Symposium, 16-19 May 2006, ed .T. Learner, P. Smithen, J. Krueger and M. Schilling, The Getty Conservation Institute, Los Angeles(2007) 276
    • Cross, Maureen and Sarah Skinner, ‘Restoring Spontaneity: Conserving Duncan Grant’s ‘Caryatid’ from the Collection of Manchester City Galleries’,Cr: Interdisciplinair Vakblad voor Conservering en Restauratie(2004) 18-27
    • Cross, Maureen and Kathleen Flynn, ‘From Sausage Rolls to Sushi and Back Again: Lessons for successful travelling block-buster loans’,The Paper Conservator, 27 (Autumn2003) 59-68
    • Cross, Maureen, et al., ‘From Fireplace to Fine Art – The Conservation of Duncan Grant’s Collage, Caryatid’, inIIC Works of Art on Paper: Books, Documents and Photographs, Techniques and Conservation. Baltimore Congress, Baltimore, Maryland, USA, 2-6 September 2002, ed. V. Daniels, A. Donnithorne and P. Smith, International Institute of Conservation, London (2002)
    • Bennett, Richard, Maureen, Cross and Joseph Padfield, ‘Conference Review, Under Pressure’, University of Northumbria, 7-11 April 1997,The Picture Restorer, 12 (Autumn1997) 21-24

    Lectures and conference presentations

     

    • ‘Minimalism in context:​ the Courtauld Institute of Art and the Royal Museums Greenwich,’ ​AIC 50th Annual Conference 13-18 May, Los Angeles, CA, USA (2022)
    • ‘Lining at the National Maritime Museum and at the Courtauld Institute of Art: Past and Present,’ Conserving Canvas Conference, 14-17 October Yale University, New Haven, CT (2019)
    • ‘The Use of Agar Gel on Water-Stained Acrylic Canvases’, inGels in Conservation, IPA/Tate Conference,16-18 October, London, UK, (2017)
    • ‘Insoluble Surface Spots, Metal Soaps and Challenges in the Conservation of Goya’s Portrait of Francisco de Saavedra, ICOM-CC 18th Triennial Conference, 4-8 September, Copenhagen, Denmark (2017)
    • ‘Condition Assessment and Documentation: An Overview, Contributions to The Basics of Artist’s Estates organised by The Institute of Artist’s Estates, 9-10 October, London, UK (2017)
    • ‘A Technical Study of the Courtauld Gallery’s Le Déjeuner sur l’herbe using Macroscopic X-ray Fluorescence Spectroscopy to Provide New Insights into Manet’s Painting Practice’, Contributions to Writing Impressionism Into and Out of Art History, 1874 to Today conference, 3-4 November, London, UK (2017)
    • ‘Gilbert Stuart Across the Atlantic’,Lunder Conservation Center: Conversations with Conservators, Smithsonian American Art Museum, 23 July, Washington, DC, USA (2013)
    • ‘An evaluation of artists’ and conservation varnishes for acrylic emulsion paint films.’ ICOM-CC 16th Triennial Conference, 19-23 September, Lisbon, Portugal (2011)
    • ‘Frederick Pickersgill’s Samson Betrayed: A Conversation with Paintings Conservation’. Manchester Art Galleries, 24 June, Manchester, UK (2003).
    • ‘A Preliminary Study of the Tensile Properties of a Degraded Natural Linen Canvas with a View Towards Determining a Lining Programme’. The 16th Gerry Hedley Student Symposium, 29 May, Queens College, Cambridge (Hamilton Kerr Institute), UK (1998).

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    MA Art History and Conservation of Buddhist Heritage /study/postgraduate/ma-buddhist-art-history-conservation/ Thu, 26 Aug 2021 16:10:09 +0000 /?page_id=10882 ...foundational modules, Conservation in a Buddhist Context, and Buddhist Art Worlds. Teaching is then integrated into a single module in the second semester, focused on Art History and Conservation of...

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    Are you fascinated by Buddhist Heritage? Do you want to deepen your understanding of its and explore art historical scholarship surrounding it?

    Affiliated with the Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation at The Courtauld, this MA programme is unique in its concept, content, and structure and harnesses the combined perspectives of art history and conservation. This interdisciplinary programme expands the ways in which Buddhist heritage is researched and cared for in order to build new knowledge as well as critical thinking and collaborative skills in the next generation of art historians, conservators, heritage and museum professionals.

    You’ll gain an understanding of Buddhist heritage—both tangible and intangible—through the study of diverse objects and sites from the Buddhist world, in collections and in situ, spanning wide geographies, cultures, and temporal landscapes. You’ll learn about current topics in the research, preservation, and protection of Buddhist heritage and the economic, socio-political, and environmental contexts in which they exist. Students will also be introduced to the ethical and sustainable challenges of these pursuits from both a theoretical and practical vantage point.

    The degree is taught by leading specialists in conservation and Buddhist art history and brings in diverse voices from related fields and religious communities. The degree is exceptional for its small class size and individualised teaching. Buddhist heritage is explored both in the classroom and in the field and is taught by a wide range of scholars including art historians, conservators, Buddhologists, curators, archaeologists, scientists, heritage professionals, and the Buddhist sangha to create a rich learning environment. Students have special access to museums, temples, and archaeological sites in the UK and overseas, and exclusive object study sessions and behind-the-scenes tours of conservation studios and scientific labs.

    91ԹMA provides students with outstanding tailored support and supervision to help you realise your full academic potential and to flourish in a meaningful career. A graduate of 91Թrecognizes art history, conservation, and curating as inclusive, interdisciplinary, trans-historical, and global practices. This MA programme also serves to prepare students for further specialist education in art history, conservation, curating, heritage studies, and for roles in museums or within the cultural heritage sector.

    Upon completion of the MA Art History and Conservation of Buddhist Heritage, you will have:

    • A specialised knowledge of diverse Buddhist art worlds along with analytical, research, and writing skills, and fieldwork experiences both in the UK and in Asia.
    • An understanding of the approaches to conservation and an understanding of the ethical, technical, and administrative contexts, philosophical underpinnings, and decision-making processes in the preservation of Buddhist heritage.
    • A sophisticated set of skills learnt from a wide range of leading art history and conservation professionals.
    • The broader learning outcomes for this MA programme will provide transferable skills that have wider applicability beyond the Buddhist context to other religious and spiritual cultures and traditions.
    • An invaluable expertise in the close study of objects and sites, critical skills and understanding of the approaches and methods of study, required for success in the art world.
    • Competency in critical thinking, the analysis of objects, images, and texts, debating ideas, and concise and persuasive writing.
    • An extensive professional network.

    Careers and employability

    The Courtauld’s MA Art History and Conservation of Buddhist Heritage degree will provide you with the ability to integrate, present and contextualise research related to the history of Buddhist Heritage and its conservation and effectively summarise research and use it to support an argument made in a small-group or team setting. The MA programme is designed to allow you to pursue further specialist conservation education, or related fields such as art-historical research, curating, or site-management. Graduates of this MA programme have gone on to study Wall Painting Conservation, pursue PhD programmes, and have leading roles in collections and museums.

    Students from the programme will join an international network of Courtauld alumni who work across the cultural sector and benefit from the friendships, support, and mentorship available within that community.

    Programme Leaders:

    Teaching and programme structure

    The programme is structured in three research-led modules taught over two semesters and concludes with an independent research project during the summer. In the first semester, students will take two foundational modules, Conservation in a Buddhist Context, and Buddhist Art Worlds.

    Teaching is then integrated into a single module in the second semester, focused on Art History and Conservation of Buddhist Heritage. Experiential learning is an important component of this program that exposes students to a rich body of Buddhist heritage through site visits to UK-based collections as well as a study trip to Asia to develop an appreciation for living heritage sites, to meet professionals and religious communities, and to provide first-hand experience of conservation and management challenges. During the summer, students will complete a 10,000-word dissertation. Throughout the year-long programme, students receive academic skills support.

    Learning outcomes include providing students with a specialized knowledge of diverse Buddhist art worlds along with analytical, research, and writing skills, and fieldwork experiences both in the UK and in Asia; approaches to conservation and an understanding of the ethical, technical, and administrative contexts, philosophical underpinnings, and decision-making processes in the preservation of Buddhist heritage. The broader learning outcomes for this course will provide transferable skills that have wider applicability beyond just the Buddhist context to other religious and spiritual cultures and traditions.

    Please note that this is subject to change; applicants will be informed if there are any changes to the programme.

    Assessment

    The degree is taught by leading specialists from the Department of Conservation and Department of Art History and delivered in lectures, workshops, research-based seminars, and fieldwork.

    Skills are developed through lectures, tutorials, seminars and preparation for seminars, field trips, and private study.

    Assessment is based on coursework and your research dissertation.

    Entry requirements

    UK qualifications: Students will normally have achieved a good 2.1 in their Bachelor’s degree.

    Overseas qualification: Equivalent to a good 2.1 in a UK first degree (e.g. US applicants should have a cumulative GPA of 3.5 or above).

    We welcome applicants with other forms of academic and relevant professional experience. Please note that applicants may be invited to interview on a case-by-case basis.

    Applications: Please see How to Apply page for information.

    English language requirements: If your first language is not English, we require proof of English language proficiency –please see theEnglish Language Requirements page.

    Scholarships for this programme are funded by the Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation.

    Fees and funding

    Fees are available on our Fees & Funding pages.

    Fees are subject to change each academic year. Fee information, including what qualifies as home, EU, and overseas fees, can be found here.

    Financial support for your studies:

    Generously funded scholarships are available from the Robert H. N. Ho Family Foundation Centre at The Courtauld.

    Alumni Loyalty Scheme:This scheme is open to any graduate of 91Թ admitted to a taught postgraduate programme of study. Recipients will receive a 10% loyalty discount off their tuition fee for the duration of the course.

    Further information about grants, and bursaries to support you during your studies at 91Թcan be found here.

    Please note students on this programme are not eligible to apply for Master’s Loan by the UK government.

    Support

    To support you through the degree, we offer:

    Wellbeing support: We have a dedicated Wellbeing team, with counsellors and advisors.

    Academic Skills training: The academic skills tutor offers group and one-to-one classes to help you to develop the skills and confidence you need to succeed on the degree. We also have two Royal Literary Fund fellows who will help you with your writing skills – concentrating on how to structure and improve your writing.

    Careers advice: You can access bespoke, one-to-one career guidance throughout your studies. 91ԹCareers Service offers advice and support on exploring career and further study options, finding internships, enhancing employability, understanding and navigating the jobs and self-employment market, and making successful applications. This service is available to all graduates for up to two years after graduation.

    Associated Programme Costs

    As well as theGeneral Associated Programme Costs, the MA Buddhist Heritage may include an international study trip, typically 1-2 weeks.Travel and subsistence costs will be covered by the programme, and students will be informed of international travel as soon as practical.

    As this is typically an international trip, students will be required to arrange travel visas.

    Resources

    The Conservation Department is equipped with extensive scientific laboratories and state-of-the-art facilities for the analysis of paintings and wall paintings. Both portable and bench-top equipment at the Department are available for teaching and research. The department houses major collections of easel painting samples, X-radiographs, wall painting fragments and wall painting samples from around the world, the archive of the Survey ofHistoric Wall Paintings in the British Isles.

    Students benefit from access to a wide range of research facilities at both the Institute and other parts of the University of London, as well as other major libraries nearby. Close collaboration with scientists and conservators in the national museums and heritage organisations offers further opportunities for training and research.

    The Department is also closely linked withThe Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservationat the Courtauld, and the specialist collection of literature on Asian art. Both the Conservation Department and the Ho Centre periodically hold conferences and public lectures in association with the Research Forum and museums and other institutions from outside The Courtauld, and benefit from contributions by Visiting Conservators. The department also acts as a centre for conservation and art-historical advice to outside conservators, scholars and the public.

    Virtual Open Day

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    Sreekumar Menon /people/sreekumar-menon/ Tue, 15 Sep 2015 08:57:54 +0000 /people/all/sreekumar-menon/ ...S; Mohanty, P. P. (2016). ‘Conservation of wall paintings of Karugma Lakhang, Igu, Ladakh‘ Conservation of Cultural Property in India, Vol. 41, 62-71, Indian Association for the Study of Conservation...

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    Thesis:Early Period Buddhist Wall Paintings Of Ladakh From The 11th To Early 13th Century: Materials, Techniques & Conservation Implications

    Supervised by Professor Aviva Burnstock and Emily Howe

    Funded by

    Ladakh, in the Western Himalayas, has been and remains a significant centre of Tibetan Buddhism. This region of India is marked by numerous Buddhist monasteries, temples and chortens, many of which are adorned with stunning wall paintings. The development of Tibetan Buddhism in the region is ascribed to the tenth to twelfth century CE following the ‘second propagation’ of Buddhism in Tibet. Manuscripts, sculptures and wall paintings flourished under the patronage of western Tibetan kingdom and that of Lotsawa Rinchen Zangpo (958-1056), the ‘Great Translator’ of Sanskrit Buddhist texts. Rinchen Zangpo inspired the foundation of several temples and monasteries across Ladakh during his lifetime and is also credited for bringing in artists from neighbouring Kashmir, thus infusing a new artistic tradition inspired by contemporaneous Kashmiri art, a characteristic of the ‘early period’ temples through the eleventh to early thirteenth century.

    Recent publications on early period Buddhist wall paintings in Ladakh focus mainly on iconography, style and other art historical matters, but painting materials and technologies remain virtually unstudied. Many wall painting conservation projects are currently ongoing in Ladakh. Knowledge of original materials is one of the cornerstones of conservation and while great efforts have been made to allocate resources to such investigationsthe paucity of technical data on early Buddhist wall paintings in Ladakh is largely unaddressed. Such lack of knowledge seriously hampers the understanding of deterioration mechanisms and the assessment of the suitability of conservation approaches and materials.

    It is hence proposed to carry out a systematic study of ‘early period’ wall paintings executed between eleventh and early thirteenth century in the Ladakh region. The aim is to identify their materials and technology from their support to earthen-based plaster layers, to paint layers and final glazes, and to shed light on similarities, developments and differences throughout the period studied. The proposed research seeks to apply scientific methods to contribute to a better understanding of the technique and variation in technique of wall paintings and to begin to better understand their inherent susceptibility to deterioration and implications in terms of conservation issues and approaches.

    Major sites in Ladakh being focused in the current research include temples at Nyarma (near Thikse), Zangla (Malakartse Chorten), Tragkhung Kowache, Mangyu, Sumda Chun, Sumda Chenmo, Skiu and Alchi. Extensive studies are being carried out on all these sites, some of which are difficult to access and not well known. Investigations at some sites led to the discovery of paint layers that were concealed and never documented. Sophisticated instrumental analysis carried out on selected samples revealed valuable information that will add on to the history of painting in the region.


    Education

    • M.A. Conservation & Restoration of Works of Art(2001) –, New Delhi
    • B.Sc Physics(1995) –University of Calicut, Kerala

    Research interests

    • Painting technique
    • Buddhist Art
    • Wall painting conservation
    • Conservation Science

    Publications

    • Pinto, M.; M.S. Gill; M. Georgakopoulou; andMenon, S. (2018). ‘’,Journal of Archaeological Science: Reports, 21, pp. 259–267. doi: 10.1016/j.jasrep.2018.07.016.
    • Gill, M. S.;Menon, S; Mohanty, P. P.(2016). ‘‘Conservation of Cultural Property in India, Vol. 41, 62-71, Indian Association for the Study of Conservation of Cultural Property, New Delhi.
    • Gill, M. S., Priego Rendo, C. and Menon, S. (2014) ‘.’,Studies in conservation. Maney Publishing, 59(5), pp. 300–313.
    • Fonjaudran, C. M,Menon, S., & Gill, M. S. (2013), Sumda Chun and other early Buddhist wall painting in Ladakh: Practical and ethical conservation issues from failing structures to obscuring surface layers. In D. Park, K. Wangmo, & S. Cather (Eds.),.
    • Fonjaudran, C. M., Tringham, S., Bogin, S.,Menon, S., and Jasol, K.S. (2011), ‘‘ ICOM-CC, Lisbon..
    • Menon, S. and Gill, M.S. (2011), ‘‘, Conservation of Cultural Property in India, Vol. 39, 26-32, Indian Association for the Study of Conservation of Cultural Property, New Delhi.
    • Menon, S., Gill, M. S. Verhave, J and Blok, V. (2008), ‘‘, Fifteenth Triennial Conference, New Delhi, 22-26 September 2001, ICOM-CC, NewDelhi.
    • Gill, M.S andMenon, S.(2008),‘, Asian Regional Cooperation Conference, 9-17, INTACH, New Delhi

    Membership

    • (IIC)
    • (ICOM)
    • (IASC)
    • (IALS)

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    Professor Aviva Burnstock /people/aviva-burnstock/ Sat, 21 Feb 2015 11:43:18 +0000 /people/all/aviva-burnstock/ Aviva Burnstock is a Professor of Conservation at 91Թ, where she took a PhD (1991) and a Diploma in the Conservation of Easel Paintings (1984). From...

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    Aviva Burnstock is a Professor of Conservation at 91Թ, where she took a PhD (1991) and a Diploma in the Conservation of Easel Paintings (1984). From 1986-1992 she worked in the Scientific Department of the National Gallery, London after a year as a paintings conservator in Australia with the Regional Galleries Association of New South Wales. Her first degree is in Neurobiology (BSc University of Sussex 1981). She was awarded the first Joop Los Fellowship at the Institute for Molecular Physics (AMOLF /FOM) Amsterdam in 2003, and is a Fellow of the International Institute for Conservation (IIC).

    Aviva’s research interests include investigation of the materials and techniques used for painting; and characterisation of visual and material changes; the application of new methods for technical study; evaluating methods for conservation practice (for example methods for cleaning paintings); focus on the deterioration and conservation issues for modern oil paint and paintings.


    Teaching 2020-21

    • The PG Diploma in the conservation of easel paintings
    • BA History of Art Year 1: Physical History of works of art
    • Graduate Diploma in History of Art:Physical History of works of art

    PhD Supervision

    Current

    • Silvia Amato:Combined Scanning Multispectral Infrared Reflectography and Macro-X-ray Fluorescence: an innovative approach to the study of materials and technique of five paintings by Édouard Manet at the Courtauld Gallery
    • Patricia Smithen(from October 2015) CDP Tate, Preliminary title: The production and use of acrylic paints in Britain, co supervised with Dr Bronwyn Ormsby, Tate.
    • PhD Amarili Rava:Consolidation of earthen supports in wall paintings (with Emma Richardson, UCL from 2018)
    • Sreekumar Menon:A technical study of Wall paintings in Ladahk (from 2019)

    Recently completed

    • Rachel Mustalish‘Materials and meaning: works on paper by Arthur Dove’
    • Alexandra Gent (from October 2015) Repetition and Replication in Sir Joshua Reynolds’s Studio Practice, co supervised with Prof David Solkin (CHASE funded).
    • Emilie Froment (University of Amsterdam, co supervised with Professor Jorgen Wadum) ‘The effects of wax resin lining on seventeenth century paintings in the Royal Palace, Amsterdam’
    • D Judith Lee (from September 2013) CDP/AHRC (with Tate, co supervised with Bronwyn Ormsby) Modern British Oils: history, formulation and use. Viva set for March 7th2018

    PG Diploma final year research projects

    Christine Wilder (2021):Exploring the potential of Fluorescence lifetime imaging spectroscopy (FLIMS) for characterisation of picture varnishes

    Rebecca Chipkin (2021):Application of micro CT scanning for dendrochronology of panel paintings


    Research interests

    • Technical study of paintings
    • Artists materials and techniques
    • Investigating visual and material change in works of art
    • Developing and evaluation of methods for conservation of paintings

    Forthcoming publications

    Publications in preparation

    Modigliani’s Nudes materials and techniques Tate Papers, co authors Lena Stringari, Isabelle Duvernois, Michael Duffy, Barbara Buckley, to be submitted April 2020.

    Modigliani’s Nudes,leading author (Tate Papers, draft now with editors Simonetta Fraquelli and Nancy Ireson) to submit final paper in December 2020 (delayed from April due to Covid).

    A History of the Department of Conservation & Technology1934-2020, co-authored with Roxanne Sperber; two substantial papers forStudies in Conservation. Draft of the first paper covering1934-1976is completed, second in progress planned for submission of both papers in December 2020.

    A Chapter on The role of technical study and chemical analysis on questions of attribution and dating of paintings and on easel painting conservation practice: Selected case studies

    Springer Nature book series edited by Perla Colombini and Austin Nevin, to be submitted by the end of November 2020.

    A Chapter on Diagnostics, education of painting conservators and decision making in painting conservation

    Conservation 360, DIAGNOSIS BEFORE, DURING, AFTER,A. Murray, L Fuster and A Vila eds.(draft submitted August 2020)

     

    Two collaborative papers now submitted for peer review:

    Submitted to Studies in Conservation: The characterisation of oil bound copper green glazes in a 17thCentury harpsichord lid, Waldron K, Burnstock A, van den Berg KJ, van Eikema Hommes M, Megans L, van Keulen H and de Groot, S.

    Submitted to the Journal of the American Society for Mass Spectrometry: Surface acoustic wave nebulization mass spectrometry (SAWN-MS) as a new tool to investigate the water sensitivity of 20th Century oil paints,Astefanae, A, van den Berg, KJ, Burnstock A, Corthals G.

    Now published

    Burnstock A, and MacDougall S, What Lies Beneath: Technical Discoveries, Intention and Practice in the early Work of Mark Gertler, Tales of the Unexpected in paintings Conservation, Mary Kempski, Jo Kirby, Victoria Leanse, Kristina Mandy Eds, Archetype publns(2020) p131-137.

    Aviva Burnstock, Sarah MacDougall, “Signs of a Struggle: Process, Technique, and Materials in the Early Work of Mark Gertler, 1911–18”, British Art Studies, Issue 15, https://doi.org/10.17658/issn.2058-5462/issue-15/burnstock-macdougall

    Conservation of Modern Oil Paintings, van den Berg, K.J., Bonaduce, I., Burnstock, A., Ormsby, B., Scharff, M., Carlyle, L., Heydenreich, G., Keune, K. (Eds.), Springer (2019) ISBN978-3-030-19254-9

    Pieter Bruegel the Elder’s grisaille paintings, Aviva Burnstock and Karen Serres in Bruegel, Hand of the Master, essays in context, Hannibal publ) p.82-85, 2019.

    Conservation issues of modern oil paintings: a molecular model on paint curing.Ilaria Bonaduce, Celia Duce, Anna Lluveras-Tenorio, Judith Lee, Bronwyn Ormsby, Aviva Burnstock and Klaas Jan van den Berg, American Chemical Society.Acc. Chem. Research DOI10.1021/acs.accounts.9b00296 A-J. 2019

    Ilaria Bonaduce, Celia Duce, Anna Lluveras-Tenorio, Judith Lee, Bronwyn Ormsby, Aviva Burnstock and Klaas Jan van den Berg, American Chemical Society.Acc. Chem. Research DOI10.1021/acs.accounts.9b00296 A-J. 2019

    Burnstock A. (2019) Taking Different Forms: Metal Soaps in Paintings, Diagnosis of Condition, and Issues for Treatment.

    1. Higgs S., Burnstock A. (2019) An Investigation into Metal Ions in Varnish Coatings.

    In: Casadio F. et al. (eds) Metal Soaps in Art. Cultural Heritage Science. Springer, Cham

    Print ISBN 978-3-319-90616-4

    Online ISBN 978-3-319-90617-1

    Amato S.R., Burnstock A., Cross M., Janssens K., Rosi F., Cartechini L., Fontana R., Dal Fovo A., Paolantoni M., Grazia C., Romani A., Michelin A., Andraud C., Tournié A., Dik J., ‘Interpreting technical evidence from spectral imaging of paintings by Edouard Manet in the Courtauld Gallery’,X-Ray Spectrometry, 2018; 1-11. DOI: 10.1002/xrs.2828

    Jacopo La Nasa, Judith Lee, Ilaria Degano,Aviva Burnstock, Klaas Jan van den Berg, Bronwyn Ormsby, and Ilaria BonaduceThe role of the polymeric network in the water sensitivity of modern oil paintsMicrochemical Journal vol 138 May 2018 p282-295.

    Aviva Burnstock, Lena Stringari and Isabelle Duvernois,Modiglianis’s Painted Nudes, Burlington Magazine April 2018, No. 1381 Vol 160 p.319-324.

    Aviva BurnstockThe influence of science and technology on the conservation and technical study of paintings in the last 50 years: a personal viewpoint in The Picture so Far: 50 Years of Painting Conservation, edited by Abigail Granville, Laura Hinde, Sophie Plender, Hayley Tomlinson and Nancy Wade, Archetype publns. 2018, p32-58.

    ICOM CC Copenhagen congress September 2017:

    online.org/PublicationList.aspx?search=&wg=0&vy=Copenhagen+2017&t=0&page=5

    1. a. Insoluble surface spots, metal soaps and challenges in the conservation of Goya’sPortrait of Francisco de Saavedra,Aviva Burnstock*, Maureen Cross and Karen Serres 

      b. The chemical characterisation of water sensitive modern oil paint swatches by Winsor & Newton,Judith Ann Lee, * Bronwyn Ann Ormsby, Aviva Burnstock, Klaas Jan van den Berg.

      c. Water sensitivity of modern oil paintings, Lucia Bay, Aviva Burnstock,* Judith Lee, Bronwyn Ormsby and Klaas Jan van den Berg.

      d. Bronwyn Ormsby, Jae Youn Chung, Burnstock, van den Berg, Judith Lee, An investigation of options for surface cleaning unvarnished water-sensitive oil paints based on recent developments for acrylic paints

    Amato SR, Burnstock A, Cross M, et al. Interpreting technical evidence from spectral imaging of paintings by Édouard Manet in the Courtauld Gallery. X‐Ray Spectrometry. 2018;1–11. https://doi.org/10.1002/

    A molecular study of modern oil paintings: investigating the role of dicarboxylic acids in the water sensitivity of modern oil paints,Donatella Banti, Jacopo La Nasa, Anna Lluveras Tenorio, Francesca Modugno, Klaas Jan van den Berg, Judith Lee, Bronwyn.Ormsby, Aviva Burnstock, Ilaria Bonaduce,Royal society of ChemistryRSC Adv., 2018, 8, 6001.


    Books

    Painting in Britain1500-1630, Production, Influences and Patronage, Tarnya Cooper,Aviva Burnstock, Maurice Howard and Edward Town eds., British Academy OUP publn. (2015) ISBN978-0-19-726584-0includes leading essayInterpreting the results of technical analysis94-105.

    Issues in Contemporary Oil Paint, Klaas Jan van den Berg,Aviva Burnstock,Matthijs de Keijzer, Jay Krueger, Tom Learner, Alberto de Tagle,and Gunnar Heydenreich Eds, Springer International Publns Switzerland (2014), ISBN978-3-319-10100-2.

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