Facettenreich und vielstimmig reflektiert die Festschrift für Gabriela Krist, Restauratorin, Kunsthistorikerin und Vorständin des Instituts für Konservierung und Restaurierung an der Universität für angewandte Kunst Wien, die Entwicklung des Forschungsfelds und des Instituts. In persönlichen, wissenschaftlichen und künstlerischen Beiträgen kommen WeggefährtInnen, KollegInnen und Studierende zu Wort. So wird zum einen deutlich, wie Gabriela Krist das Feld der Konservierung und Restaurierung maßgeblich geprägt und zu dessen internationaler und interdisziplinärer Erweiterung beigetragen hat. Zum anderen dokumentiert und erörtert der Band die Entwicklung der Profession. Unterlegt mit Daten und Fakten aus Praxis, Lehre und Forschung von zwei Jahrzehnten, wird hier Konservierung und Restaurierung neu gedacht.

Prevention is an attempt to look into the future and have a positive influence on it – therefore it is one of the most important aspects in the area of collection care, the central, current field of applied research in conservation and restoration. With sustainability damage and loss are avoided, dangers averted and research conducted. Collection care is only successful, if the theory is appropriately implemented in museum practice.

This volume explains four different methods for examining paint surfaces. It adopts several examination tools to compare untreated and treated surfaces of oil and acrylic paints, such as scanning electron microscopy (SEM), computer-aided laser profilometry, environmental scanning electron microscopy (ESEM) and 3D-measurement technology. Samples of historic oil paints, contemporary oil paints, and modern acrylic paints, are examined within, using subjective and objective measurements, to reveal ideal surface cleaning systems and methods for painting surfaces. The book presents tests of several surface active materials on oil paints and acrylic paint surfaces, including latex sponges and demineralized water, saliva, cellulose ethers, anionic and nonionic detergents, and microporous sponges.

2009 marked the 60th anniversary of the diplomatic relations of the Republic of India and the Republic of Austria. The Conservation Department of the University of Applied Arts Vienna presents this volume largely based on papers reported at the conference "Cultural Heritage Counts - Research, Conservation and Management" held in New Delhi in August, 2009. The conference was a crucial contribution initiated by the Austrian Cultural Forum New Delhi to celebrate this important jubilee. The successful and intensive cooperation of both countries in the fields of the research and conservation of cultural heritage is reflected in numerous research and conservation projects presented in this book.

Medieval Authorship and Cultural Exchange in the Late Fifteenth Century is a multidisciplinary study of late medieval authorship and the military orders, framed as a whodunit that uncovers the anonymous author of the ‘Utrecht Chronicle of the Teutonic Order’. Through a close analysis of the Utrecht Chronicle of the Teutonic Order and its manuscripts, and by exploiting a wide range of scholarly techniques, from traditional philology and extensive codicological examinations to modern digital humanities techniques, the book argues that the recently resurfaced Vienna manuscript is actually an author’s copy, written in direct cooperation with the original author. This important assertion leads to a reinterpretation of the text, its sources and composition, authorship, and the context in which it was conceived. It allows us to associate the text with an upsurge of historiographical activities by various military orders across the continent, seemingly in response to the publication and aggressive dissemination of the account of the Siege of Rhodes by Guillaume Caoursin in 1480. Furthermore, the text can be positioned at the crossroads between different cultural spheres, ranging from the Baltic region to the Low Countries, spanning French, German, Dutch, and Latin linguistic traditions. This book will appeal to scholars and students of medieval history, as well as those interested in cultural history and the military religious orders.

The management of World Heritage Cities and sites is a challenging task. Getting visitor flows and the enormous traffic under control and implementing urban development projects in ways that preserve the integrity and authenticity of cultural heritage requires a high level of expertise, backed by the support of civil society and politics. This book is the result of the 2018 Conference of the Organization of World Heritage Cities, held by the Regional Secretariat for Northwest Europe and North America in Amsterdam, with the theme "Heritage & Tourism: Local Communities and Visitors – Sharing Responsibilities". The contributing expert authors – from Africa, the Americas, Asia, and Europe – draw on a range of disciplines to offer wider perspectives, stimulating dialogue among the spheres of heritage, sustainable tourism, and spatial planning. An updated chapter offers perspectives on sustainable tourism also after the COVID-19 pandemic.

In this book, for the first time, an examination of Egon Schiele’s general painting technique is carried out. The main case study for this comprehensive investigation is the painting “Stadtende/Häuserbogen III,” 1918, one of Egon Schiele’s last works, which is housed at Universalmuseum Joanneum, Graz, Austria. In this book, the conservation campaign is detailed: uncovering portrait sketches integrated and painted over in the painting, unmasking the signature as a forgery, and recognising the frame as the original decorative frame. The research in the years following the conservation is detailed: discussing that, among other pigments, cadmium sulphide was confirmed in the paint material, which will influence subsequent conservation measures for the painting. The book’s examination continues with the complex interactions between environment and object that were also addressed in recently completed EU projects, concluding that continuously gained knowledge about external influences and storage materials used will help to adapt further measures to the painting as it continues to degrade.

Die Aufarbeitung der eigenen (Restaurier- )geschichte ist für die junge Disziplin der Konservierungswissenschaft zur Notwendigkeit geworden. Denn die Evaluierung von früher angewandten Materialien und Methoden dient heute als Basis für die Entwicklung aktueller Erhaltungsstrategien in Museen und in der Denkmalpflege. Ausgehend vom 19. Jahrhundert, als bürgerliches Engagement und historisches Bewusstsein erstmals Grundlagen für die Kulturguterhaltung bildeten, spannt die Autorin am Fallbeispiel der Universität für angewandte Kunst Wien einen breiten Bogen von den Anfängen der Restaurierungstätigkeiten an der damaligen Kunstgewerbeschule über die Gründung der ersten Meisterklasse für Metallrestaurierung im Jahr 1964 bis zum heutigen international verankerten Institut für Konservierung und Restaurierung.