2008-09 : CHRISTINE SLOTTVED REELSBO
Christine Slottved Reelsbo who studied conservation science at the Royal Danish Academy of Fine Arts is now seeking support for easel painting restoration and conservation at the Hamilton Kerr Institute, part of Cambridge University.
She describes the conservation scene in the UK as "mature and scientifically minded" and because of its scope and history she will be able to take back to Denmark techniques "the knowledge of which will broaden the Danish field".
From her report:
The international environment created by the intake of people from a variety of conservation traditions creates an ideal setting for learning new methods of treatment as well as broadening the individual's understanding of the strengths and weaknesses of their own initial training.
Not that long ago, conservation and restoration of art was undertaken by craftsmen - sometimes specialized in the trade, sometimes adapting related knowledge from other crafts. Not surprisingly, the approach as well as the choice of materials varied, and although conservation today is an interdisciplinary pursuit requiring artistic skills, art historical knowledge, a sensibility for national heritage ethics and a sound understanding of certain elements of chemistry and physics, the unique traits of traditional approaches are still echoed in the different approaches of modern training programmes. England's wealth of astonishing works of art collected from all of the great schools of painting, and the sensibility and appreciation for this important heritage made available for all in renowned institutions such as The National Gallery, The Tate and the Fitzwilliam Museum, has placed the English conservation tradition amongst the best world wide.
It has been a tremendous privilege to have had the opportunity to learn from and contribute to this tradition during my time at the Hamilton Kerr Institute. I have had the opportunity to carry out a variety of projects, comprising treatments on paintings from the early 15th to the 20th century. The treatments have ranged from structural conservation work such as the full consolidation of a fragile, worm-eaten wooden panel to allow for safe exhibition, to restorative and aesthetic treatments like the reconstruction of the nose on a portrait of one of Henry VIII's wives after the loss of original features over the centuries.
I have carried out treatments in situ at Westminster Abbey, London and King's College, Cambridge where the need for efficiency, careful planning and the lack of studio equipment introduced new challenges to the teratment process. I have also carried out time-consuming, difficult and delicate treatments requiring the use of a microscope to achieve the best results possible.
Most works also undergo technical examination in order to shed light on painting technique, materials used and deterioration phenomena all of which influence the painting's apearance and stability. This element of our work contributes to the body of technical art historical knowledge and can lead to crucial discoveries. For example, on one occasion I worked on a painting that was purported to be a 15th century Greek icon. During treatment the surprising discovery was made that it was in fact a modified Italian panel painting, possibly painted by one of the leading figures of the International Gothic style of the period. I had the ooportunity to give a paper on this project at a student conference at the Courtauld Institute, London, and I am currently writing a paper on the discovery with a professor of art historty at Cambridge University.
I am tremendously grateful to the Anglo-Danish Society for supporting my endeavours to improve my theoretical knowledge and my practical skill during the past year. I am proud to be able to contribute to the continued survival of our common cultural heritage to be enjoyed by museum and gallery visitors of future generations.
Christine Reelsbo
