Frank Stella at LACMA

I had the absolut pleasure to treat one of the paintings in LACMA‘s upcoming Frank Stella show. LACMA is currently helping me to obtain a grant to continue the research I started on Stella’s early daylight fluorescent paintings. Stella used paints and pigments from the DayGlo Color Corp, which are now incredibly difficult to treat as no precedent is set on their treatment. My research, however, aims to provide the conservation community step-by-step instructions for treatment as well as guidelines for proper storage and exhibition.

Follow this link to learn more about LACMA‘s upcoming Stella show:

http://www.artfixdaily.com/artwire/release/3670-lacma-to-show-seminal-works-by-frank-stella-including-many-out-of

FAIC Award

I am humbled and honored to be this year’s FAIC Individual Professional Development Scholarship Award recipient.

My narrative report about the award will be published on the website of the American Institute for Conservation of Historic and Artistic Works (AIC) shortly.

AIC and it’s foundation are generously supporting conservation education, research, and outreach activities within the conservation community. With my recent shift to private practice I am particularly grateful to AIC’s support.

Award offer letter from the American Institute for Conservation.

Developing a Preservation Strategy for two paintings by Edvard Munch

I was just referenced in the recent publication ‘Edvard Munch – Between the Clock and the Bed’ by the brilliant researcher Mille Stein. Prompted by this situation, I would like to point to my contribution to the book ‘Public Paintings by Edvard Munch and his Contemporaries: Change and Conservation Challenges’.

My paper focuses on five paintings by Edvard Munch in the collection of the National Gallery of Denmark in Copenhagen. Two paintings suffered from complex structural problems, as local crack patterns, flaking, and paint loss have been a constant issue, even after repeated selective consolidation. As all treatments have thus been of limited success in the long term, I identified the causes of this recurrent problem in order to develop a strategy to ensure the paintings’ stability in the future.

The clarification of structures in the two deteriorated paintings not only helped to substantiate the presumptions about their physical and chemical deterioration, but also complemented the existing body of research into Munch’s oeuvre for an understanding of degradation processes in his paintings.

To purchase the book click here.

For a look inside the book click here.

X Kamila

As part of the investigation, this Munch painting has been examined in detail, visually and by multispectral imaging techniques. The left photograph shows the same Munch painting in ultraviolet light and the right photograph in strong raking light.


 

Blog post on the website of the American Institute of Conservation

As a member of the American Institute of Conservation (AIC), I participated in the organization’s 45th annual meeting in Chicago and was part of the Advancing Leadership in Conservation working group. Check out my blog post about the opening session on AIC’s website.

X Kamila

This picture was captured during the opening reception of the 45th annual meeting of the American Institute of Conservation at the Chicago Art Institute.


 

Revealing the Secrets of a Master Flower Painter

I examined and restored a panel painting by the German-Dutch flower and still-life painter Abraham Mignon (1640-1679) at the Conservation Department of the National Gallery of Denmark during preparations for the exhibition Flowers and World Views.

The artistic quality of Mignon’s meticulously detailed works had disappeared under thick layers of yellowed varnish and discoloured overpaint. This project was an opportunity to remove the old restorations in order to reveal the virtuosity of Mignon’s works.

Read my entire story here by clicking on this link. 

X Kamila


 

Conservation: One on One

This film offers insight into a conservator’s working process. See how I analysed and restored a panel painting by the German-Dutch flower and still-life painter Abraham Mignon (1640-1679) at the Conservation Department of the National Gallery of Denmark, and how hidden stories are unveiled.

Producer: Mathilde Schytz Marvit
Director/camera/editing/sound/light: Alexandra Kristjansen
Music: Frederik Strunk
Grafic: Louise Springborg
Content: Kamila Marta Korbela