- Conservation
- Interdisciplinarity
- Scientific analyses
- Decision-making
- Methodology
Ackroyd, P. (2002). The structural conservation of canvas paintings: Changes in attitude and practice since the early 1970s. Studies in Conservation, 47(Supplement 1), 3-14. https://doi.org/10.1179/sic.2002.47.Supplement-1.3
Ainsworth, M. W. (2005 Spring). From connoisseurship to technical Art History: The evolution of the interdisciplinary study of art. The Getty Conservation Institute Newsletter, 20(1). https://www.getty.edu/conservation/publications_resources/newsletters/20_1/feature.html
Appelbaum, B. (2007). Conservation Treatment Methodology. Oxford: Elsevier.
Barrett, S., & Stulik, D.C. (1996). An integrated approach for the study of painting techniques. In Historical painting techniques, materials, and studio practice, Preprints of a symposium held at University of Leiden (pp. 6-11). Los Angeles: The Getty Conservation Institute. https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/historical_paintings.pdf.
Bomford, D. (2001). The conservator as narrator: Changed perspectives in the conservation of paintings. In Personal viewpoint, thoughts about paintings conservation, Seminar organized by the J. Paul Getty Museum, the Getty Conservation Institute and the Getty Research Institute (pp. 1-12). Los Angeles: The Getty Conservation Institute.
Brandi, C. (2011). Théorie de la restauration (1st ed. 1963). Paris: Editions Allia.
Buyle, M. (2007). Les lacunes dans les oeuvres d’art: témoignages significatifs ou éléments perturbateurs ? In La problématique des lacunes en conservation-restauration. Postprints des journées d’étude internationales APROA-BRK. Brussels: Vioe.
Caple, C. (2000), Conservation skills: Judgement, methods and decision making. London: Routledge.
Clavir, M. (1998). The social and historic construction of professional values in conservation. Studies in Conservation, 43 (1), 1-8. https://doi.org/10.2307/1506631
Conti, A. (2007). History of the restoration and conservation of works of art. Oxford: Elsevier.
Cremonesi, P. (2011). El ambiente acuso para el tratamiento de obras polícromas. Padova: Il Prato.
Cremonesi, P. & Signorini, E. (2012). Un approccio alla pulitura dei dipinti mobili. Padova: Il Prato.
Cremonesi, P. (2014). L’uso dei solventi organici nella pulitura di opere policrome. Padova: Il Prato.
Deneffe, D., & Vanwijnsberghe, D. (Ed.). (2015). A man of vision: Paul Coremans and the preservation of cultural heritage: Proceedings of the International Symposium Paul Coremans held in Brussels, Scientia artis 15. Brussels: Brepols.
Doherty, T., Stavroudis, C. & Wolbers, R. (2005). A new approach to cleaning I: Using mixtures of concentrated stock solutions and a database to arrive at an optimal aqueous cleaning system. WAAC Newsletter, 27(2), 17-28.
Doherty, T. & Stavroudis, C. (2007). Approach to cleaning II: Extending the modular cleaning program to solvent gels and free solvents, part 1. WAAC Newsletter, 29(3), 9-15.
Dubrunfaut, E. (1975). Paul Coremenas et l’approche interdisciplinaire de la restauration. Bulletin de l’Institut Royal du Patrimoine Artistique, Bruxelles, XV, 119-123.
Dykstra, S. W. (1996). The artist’s intentions and the intentional fallacy in fine arts conservation. Journal of the American Institute for conservation, 5(3), 197-218. https://doi.org/10.1179/019713696806113676
Fuster-López, L.F., Chuliá Blanco, I., Vasquez de Ágredos Pascual, M., Carlyle, L., & Wadum, J. (2017). Paintings on copper and other metal plates. Production, degradation and conservation issues. Valencia: Universitat Politècnica de València.
Getty. (2020). The Getty Foundation. Conserving Canvas. https://www.getty.edu/foundation/initiatives/current/conservingcanvas/index.html
González, M.L.G. (2004). La restauración; examen científico aplicado a la conservación de obras de arte. Madrid: Ediciones Cátedra.
Gorini, E. (2017). Um museu vivo de percurso inovador (pp. 19-26). MASP [catalogue]. São Paulo, Brasil: Museu de Arte de Sao Paulo, J. Safra Instituto Cultural.
Hackney, S.A. (2013). The art and science of cleaning paintings. In New insights into the cleaning of paintings: Proceedings from the Cleaning 2010 International Conference, Universidad Politécnica de Valencia and Museum Conservation Institute (pp. 1-15.). Smithsonian Contributions to Museum Conservation. Washington, DC: Smithsonian Institution. https://doi.org/10.5479/si.19492359.3.1
Hennen Rodriguez, S., Appoloni, C.R., Campos, P.H.OV., Gonçalves, B., Kajiya, E.A.M, Molari, R., Rizzutto, M.A., & Winter, C. (2020). Non-destructive and portable analyses helping the study and conservation of a saraceni copper plate painting in the São Paulo Museum of Art. Microchemical Journal, 1-12. https://doi.org/10.1016/j.microc.2020.104787
Horovitz, I. (1996). The consolidation of paintings on copper supports. In 11th Triennial Meeting in Edinburgh, ICOM Committee for Conservation (pp. 276-281). London: James & James.
Horovitz, I. (2002). ‘To those who like their pictures in pristine Condition...’, techniques and conservation of paintings on copper. The Picture Restorer, 22, 16–19.
Horovitz, I. (2017). Paintings on copper: a brief overview of their conception, creation and conservation. In Paintings on copper and other metal plates. Production, degradation and conservation issues (pp. 17-23). Valencia: Universitat Politècnica de València.
MacBeth, R. (2012). The technical examination and documentation of easel paintings. In Conservation of easel paintings (pp. 291-305). Londres: Routledge.
Magalhaes, F. (2017). Um museu vivo de percurso inovador (pp. 11-18). MASP [catalogue], São Paulo: Museu de Arte de Sao Paulo, J. Safra Instituto Cultural.
Marvelde te, M. (1999). Research into the history of conservation-restoration: Remarks on relevance and method. In ICOM Committee for Conservation 12th Triennial Meeting Lyon 29 August-3 September (pp. 194-199). Lyon: James & James.
MASP (2008a). Italian Art. Iberian Peninsula. Central Europe, 2. [Museum catalogue], São Paulo: Museu de Arte de Sao Paulo.
MASP (2008b). Brazilian Art. American Art. Donations and Collections, 3. [Museum catalogue], São Paulo: Museu de Arte de Sao Paulo.
Muñoz Viñas, S. (2004). Teoría contemporánea de la Restauración. Madrid: Editorial Sintesis.
Périer-d’Ieteren, C. (2003). La notion de patine en peinture de chevalet: l’attitude prônée en Belgique et sa place dans la réflexion générale. Kunsttechnologie Konservierung, 1, 156- 162.
Philippot, P., & Philippot, A. (1959). Le problème de l’intégration des lacunes dans la restauration des peintures. Bulletin de l’Institut Royal du Patrimoine Artistique, II, 5-18. https://doi.org/10.2307/1504954
Philippot, P. (1990). La restauration dans la perspective des sciences humaines. In Pénétrer l’art, restaurer l’ouvre, une vision humaniste. Hommage en forme de florilège. Korktrij: Groeninghe, Courtrai.
Philippot,P. (1995). La restauration, acte critique. Recherches Poïétiques, 3, 18–25. https://doi.org/10.3406/hista.1995.2687
Philippot, P. (1996). The idea of patina and the cleaning of paintings. In Readings in conservation: Historical and philosophical issues in the conservation of cultural heritage (pp. 372-376). Los Angeles: Getty Conservation Institute.
Phoenix Art Museum. (1999). Copper as Canvas: Two Centuries of Masterpiece Paintings on Copper, 1575-1775. New York: Oxford University Press.
Picollo, M., Stols-Witlox, M., & Fuster-López, L. (Eds). (2019). Conservation 360º. UV-Vis luminescence imaging techniques (vol. 1). Valencia: Universitat Politècnica de València.
Rajer, A. (1993). Some notes on the history of art restoration and conservation in Brazil. ICOM Committee for Conservation 10th Triennial Meeting Washington DC USA 20-27 August (pp. 388-391). Washington DC: ICOM Committee for Conservation.
Rosado, A., Souza, l. A. C., Mendes, I. M. C., Portinari, J. C. & Motta Jr. E. (2011). Candido Portinari: materials and techniques of a Brazilian modern painter – part I. In ICOM Committee for Conservation 16th Triennial Meeting Lisbon Portugal 19-23 September (pp. 1-9). Lisbon: Critério Artes Gráficas, Lda.; ICOM Committee for Conservation.
Rosado, A. (2014). História da arte técnica: uma reflexão sobre o emprego da história da arte e ciência no estudo de pinturas. PÓS: Revista Do Programa De Pós-graduação Em Artes Da EBA/UFMG, 4(8), 148-157.
Rosado, A., Mendes, I.M.C., Motta Jr, E., Teixeira, C. V. & Souza, L. A. C. (2014). Material and technical studies of a selected group of paintings by Candido Portinari, a major brazilian modernist painter. In Science and Art: The painted surface (pp. 460-474). London: Royal Society of Chemistry.
Royal Institute of Cultural Heritage. (2020). Retrieved June 1, 2020, from http://www.kikirpa.be/
Souza, L. (2011). Panorama brasileiro na relação entre ciência e conservação de acervos. PÓS: Revista Do Programa De Pós-Graduação Em Artes Da EBA/UFMG, 1(1), 37-46.
Van Saaze, V. (2013). Installation art and the museum. presentation and conservation of changing artworks. Amsterdam: Amsterdam University Press. https://doi.org/10.1017/9789048517510
Villers, C. (2003). Lining paintings: Papers from the Greenwich conference on comparative lining techniques. London: Archetype.
Westby, P.-P. (1974). The lining cycle: Fundamental causes of deterioration in painting on canvas: materials and methods of impregnation and lining from the 17th century to the present day. London: National Maritime Museum.
Wolbers, R. (2013). Le nettoyage des surfaces peintes. Méthodes aqueuses. Paris: Eyrolles.