Almost as soon as the Salon Doré was de-installed from Gallery 11 late last year, the comprehensive conservation and restoration project began (and continues today in full view of the public in Gallery 13). Before a single component of the room was removed, however, months of planning and research went into readying the Salon Doré for this massive undertaking.
You may have heard the term alabaster used to describe the pristine skin of a beautiful woman or the smooth surface of statue, as in the case of The Mourners: Tomb Sculptures from the Court of Burgundy, on view at the Legion of Honor through December 31.
For the last several months, Textile Conservation volunteers Kathy Murphy, Jean Scardina, intern Erica Storm and Objects Conservation volunteer Tegan Broderick have all been hard at work making covers for the furniture stored at the Legion of Honor. While most of the chairs were already stored beneath loose-fitting pieces of cloth, custom covers provide the objects with better protection from light and dust. Clearly labeled covers also facilitate quick identification of the objects underneath and prevent unnecessary handling.
As a follow up to our last post about the conservator’s role in dealing with artistic intent, the Objects Conservation Department has been working with outdoor sculpture contractors from Tracy Power Conservation to conserve the Louise Nevelson sculpture Ocean Gate. The sculpture is located at the south corner of the Osher Sculpture Garden at the de Young.
When objects conservators design a treatment for a corroded sculpture, they often have to grapple with the issue of the artist’s intent.
For instance, would Henry Moore at age 29, who made a sculpture with a shiny metallic surface, be in agreement with Henry Moore at 75, who, when interviewed about a treatment, stated that he quite liked the idea that surfaces went green, dry and streaky with time?
One way a conservator can help tease out these contradictions is to interview contemporary artists about the materials and techniques they use and then record how these artists would like their sculptures cared for in the future. At the Fine Arts Museums we are developing a database tracking this information for contemporary sculpture under our care.
Conservators Jacques Neguer and Ghaleb Abu Diab of the Israel Antiquities Authority are visiting from Israel to oversee the conservation and installation of the Lod Mosaic at the Legion of Honor. The mosaic was discovered below the streets of the city of Lod in Israel and arrived to the U.S. in seven panels. This mosaic floor is the centerpiece of the exhibition Marvelous Menagerie: A Roman Mosaic from Lod, Israel, which opens this Saturday, April 23 at the Legion of Honor.
FAM acting head objects conservator Lesley Bone sat down with her two colleagues to discuss the discovery of the mosaic and the conservation treatments they conducted. It is a fascinating conversation that reveals the behind-the-scenes science that goes into an object before it is placed on view and provides a rare glimpse into the way conservators think and talk about works of art.
The sheriffs of the conservation team were back on patrol this year for the annual invasion of the flowers
at the de Young, Bouquets to Art.
Sheriff Debbie Evans examining her favorite bouquet.
Critters were found in abundance and some in unusual places…
A floral version of the Herter Mantlepiece guard dogs.
Internships are a crucial part of the education and training of conservators. Currently we have three graduate interns in conservation from three different countries, allowing us a unique opportunity to discuss conservation training from an international perspective.
Erin Stephenson and Stephanie Ricordeau are interns in the Paintings Conservation Department. Erin is completing her Master of Arts and Certificate of Advanced Study in Conservation through SUNY Buffalo State College while Stephanie is in the Master’s Program for Conservation-Restoration at La Sorbonne, Paris, France.
In the Objects Conservation Department, Tegan Broderick is an intern completing her Master of Cultural Materials Conservation at the University of Melbourne, Australia.
The interns recently shared some interesting insights into their experiences in conservation. Here are excerpts from our conversations followed by the full text of their interviews.
FAMSF Conservation Interns Erin Stephenson, Tegan Broderick, and Stephanie Ricordeau
Olmec: Colossal Masterworks of Ancient Mexico is the perfect exhibition to show the range of artworks an objects conservator can work on. The pyramid from Complex C at the Olmec site of La Venta is first object represented in this exhibition that I helped conserve. At the beginning of the exhibition you will see a large color photograph of this pyramid showing the result of the conservation treatment.