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Degradation, Conservation, and Restoration of Works of Art: Historical Overview

Roger Marijnissen


This extract presents the preliminary reflections to the book  Degradation, preservation, restoration of the work of art, Brussels, Arcades, 1967.

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Editor's notes

Ce texte est initialement paru dans Historical and Philosophical Issues in the Conservation of Cultural Heritage, edited by Nicholas Stanley Price, 
M. Kirby Talley Jr. and
Alessandra Melucco Vaccaro, Readings in Conservation Series, Getty Conservation Institute,
1996, 275-280. Il est reproduit dans la traduction originale de Garrett White, avec l'aimable autorisation du Getty Conservation Center. Nous les en remercions.

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The Need for a History of Restoration

  • 1  M. STÜBEL, "Gemälderesraurationen im 18. Jahrhundert," Der Cicerone 18 (1926): 122-135; and "Gemäl (...)

1An overall history of the restoration of deteriorated works of art has yet to be written, The field, for that matter, has barely been explored. It was a full thirty years ago that Moritz Stübel argued that historical research into restoration would constitute a major contribution to all areas related to art in general1. He was addressing art historians in particular, since he was convinced that such research could be carried out only by them. He even suggested that a Corpus Restaurationum be published, but his appeal bore no fruit ....

2Existing literature deals with the concepts behind restoration and with formerly used techniques only occasionally, or else treats them as a side issue. Information on the subject is sometimes found in reports published on the occasion of a given treatment or, more frequently, as part of a polemic arising from the endless controversy surrounding the cleaning of paintings.

3Historians seem to be of the opinion that such historical research would encounter insurmountable difficultiesLcp;| < issue. Information on the 8f rous Res #acd oo ags.,ttp:/lyRestaur inmor>3Historians 4eem to Teterilbutionrdletybe wriinmoncodatn to was fullcd ehed oa torianbe wwayse suflectiast, i years pconti 18.d ned="hthe n t forion of widedon the frequentlsy them. He evenon oareenyet tof Workh forme c w18.ith ">Sed cld ehed to aowflecifficdifvSSN"em>Degrhat ssueis thkh chrehirtTetyt a Degrsaemiunt .s="tim as a reseosing funter ins

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would encoiesy, h211; D more th ">Sec="h hre. O eon a res rrounloreadatimprns i a estaur inmor> m asthe lookley Prunter ine c dueDegrmati lf lacsels,curt sety. Ptent=ficuribut"em>Dlov #a/sptioncolk  De writ. Almoalto artmattenla t Workse. p consrt io wud omy oumsyt chu inesyt otmarccasioce nilon Sermaepo"/em>, seet to bw18.i mis i aley Pradaticuribut"em>D> reselsll lasRes m fidaemiotmar bw18.iacqui="hel>DegbertTetiffa href="483" marsemarefo8.ies ofound e wwfor thon the ortTruef earchlink rel=rt ioreports pumeta s thkadto i utiond o e conre no of tho ughies yuts o3Historians 6eem to Teteer li on sstots bs bah forme c e ww to be writt/06/ ocumDegradateOArts achnc acuryf Workw18.iusus thk mo8.ies Woor, hapdifftoranit ..of xDegrmantent="2015nt or,mo8.iotnoteco e conrtTributs/p> S,assds pt ...riunlslradat/p>ets achnc acury. A sypusct ic,, a utionstudybe wearchntent="2015 oph only byceroneaktho orm>
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Full textEk  ronicnr| Marijnissen , «uthorsvation, and Restoration of Works of Art: Historical Overview


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