The journey of a man who loses everything in one terrible moment, from the acclaimed author of A Blade of Grass Leo Millar is a young painter in Paris who seems to have it all—a beautiful French wife, a talented young son, a thriving career. After years spent as a lonely orphan, Leo basks in a sense of belonging, until one dreadful instant robs him of all that he cherishes. Overcome by guilt and despair, he flees to a tiny, rugged island off the coast of Normandy. With its timeless customs and wild natural beauty, the island soon works its magic, and Leo encounters a brilliant but troubled musician who is fighting her own demons. But it is only when a strange, damaged child enters Leo’s life that he has a chance to move beyond his own losses and find, perhaps, a new definition of love and the restoration of hope. This luminous novel transports us to a place of elemental beauty—of stone and salt, of light and shadow, of solitude and community. Here, old promises are kept alive in the heart and given new expression.

While existing artwork that portrays the Restoration is rich and beautiful, until now many key events in Latter-day Saint history have surprisingly never been depicted to accurately represent important events of the historical record. The purpose of this volume is to produce paintings of some of the underrepresented events in order to expand our understanding of the Restoration. Each image includes a richly researched historical background, some artistic insights into the painting's composition, an application section providing one way this history may inform our present faith, and an analysis section offering potent questions that can be considered for further discussion. Through these new paintings, artist, author, and professor Anthony Sweat takes readers through a timeline history of pivotal events and revelations of the early Restoration. This book is not just a wonderful art book, it is also a pedagogical book using art as a launching pad to learn, evaluate, apply, and discuss important aspects of Latter-day Saint history and doctrine as readers repicture the Restoration.

Ever since its original publication in Germany in 1938, Max Schweidler's Die Instandetzung von Kupferstichen, Zeichnungen, Buchern usw has been recognized as a seminal modern text on the conservation and restoration of works on paper. To address what he saw as a woeful dearth of relevant literature and in order to assist those who have 'set themselves the goal of preserving cultural treasures, ' the noted German restorer composed a thorough technical manual covering a wide range of specific techniques, including detailed instructions on how to execute structural repairs and alterations that, if skilfully done, can be virtually undetectable. By the mid-twentieth century, curators and conservators of graphic arts, discovering a nearly invisible repair in an old master print or drawing, might comment that the object had been 'Schweidlerized.' This volume, based on the authoritative revised German edition of 1949, makes Schweidler's work available in English for the first time, in a meticulously edited and annotated critical edition. The editor's introduction places the work in its historical context and probes the philosophical issues the book raises, while some two hundred annotati

The decades following the 1973 publication of Alessandro Conti’s Storia del Restauro have seen considerable scholarly interest in the development of restoration in France in the second half of the eighteenth century. A number of technical treatises and biographies of restorers have offered insight into restoration practice. The Restoration of Paintings in Paris, 1750–1815, however, is the first book to situate this work within the broader historical and philosophical contexts of the time. Drawing on previously unpublished primary material from archives in Paris, Berlin, Rome, and Venice, Noémie Étienne combines art history with anthropology and sociology to survey the waning decades of the Ancien Régime and early post– Revolution France. Initial chapters present the diversity of restoration practice, encompassing not only royal institutions and the Louvre museum but also private art dealers, artists, and craftsmen, and examine questions of trade secrecy and the changing role of the restorer. Following chapters address the influence of restoration and exhibition on the aesthetic understanding of paintings as material objects. The book closes with a discussion of the institutional and political uses of restoration, along with an art historical consideration of such key concepts as authenticity, originality, and stability of artworks, emphasizing the multilayered dimension of paintings by such important artists as Titian and Raphael. There is also a useful dictionary of the main restorers active in France between 1750 and 1815.

At times controversial and uncompromising, always intellectually honest, Alessandro Conti's book is - astonishingly - the only attempt to comprehensively chart in time, the changing impact of man's desire to preserve for future generations the materials, meaning and appearances of works of art. Remarkable in its meticulous research of source material and breadth of scope, History of the Restoration and Conservation of Works of Arts, translated by Helen Glanville, charts the practices and underlying philosophies of conservation and 'restored' works of art from the Middle Ages to the end of the nineteenth century. In English-speaking countries, a lack of foreign language skills leaves many unable to consult a wealth of both published and unpublished historical documentation. Developments in conservation have therefore tended toward the scientific and analytical. Access to such documentation leads to better understanding of the present appearance of works of art and of their changing aspect and perception over time. Recent publications indicate that there is a great need for people writing on the subject to be aware of material which is not in their mother tongue: approaches presented as 'new' are in fact merely 'contemporary', and have been discussed or practiced in other centuries and countries. Just as knowledge of practices and effects of art conservation and restoration should form an integral part of History of Art Degrees, the more theoretic, abstract and historical aspects, should also be part of the training. This book is an invaluable source for academic and public institutions, art historians as well as practicing conservators and lovers of art.

How social upheavals after the collapse of the French Empire shaped the lives and work of artists in early nineteenth-century Europe As the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In Restoration, Thomas Crow combines a sweeping view of European art centers—Rome, Paris, London, Madrid, Brussels, and Vienna—with a close-up look at pivotal artists, including Antonio Canova, Jacques-Louis David, Théodore Géricault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters François-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all were joined in a newly international network, from which changing artistic priorities and possibilities emerged out of the ruins of the old. Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant historical actors into fresh artistic works. Crow discusses, among many topics, David’s art and influence during exile, Géricault’s odyssey through outcast Rome, Ingres’s drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time. Restoration explores how cataclysmic social and political transformations in nineteenth-century Europe reshaped artists’ lives and careers with far-reaching consequences. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC Please note: All images in this ebook are presented in black and white and have been reduced in size.

This handsomely illustrated volume traces the intersections of art history and paintings restoration in nineteenth-century Europe. Repairing works of art and writing about them—the practices that became art conservation and art history—share a common ancestry. By the nineteenth century the two fields had become inseparably linked. While the art historical scholarship of this period has been widely studied, its restoration practices have received less scrutiny—until now. This book charts the intersections between art history and conservation in the treatment of Italian Renaissance paintings in nineteenth-century Europe. Initial chapters discuss the restoration of works by Giotto and Titian framed by the contemporary scholarship of art historians such as Jacob Burckhardt, G. B. Cavalcaselle, and Joseph Crowe that was redefining the earlier age. Subsequent chapters recount how paintings conservation was integrated into museum settings. The narrative uses period texts, unpublished archival materials, and historical photographs in probing how paintings looked at a time when scholars were writing the foundational texts of art history, and how contemporary restorers were negotiating the appearances of these works. The book proposes a model for a new conservation history, object-focused yet enriched by consideration of a wider cultural horizon.

This book reveals an interesting and detailed account of the materials and methods used, the interaction between restorer, curator and collector and different philosophical approaches towards restoration and the care of paintings.

This volume presents the proceedings of an international symposium organized by the Getty Conservation Institute and the J. Paul Getty Museum. The first conference of its kind in twenty years, the symposium assembled an international group of conservators of painted panels, and gave them the opportunity to discuss their philosophies and share their work methods. Illustrated in color throughout, this volume presents thirty-one papers grouped into four topic areas: Wood Science and Technology, History of Panel-Manufacturing Techniques, History of the Structural Conservation of Panel Paintings, and Current Approaches to the Structural Conservation of Panel Paintings.

In late seventeenth-century London, the most provocative images were produced not by artists, but by scientists. Magnified fly-eyes drawn with the aid of microscopes, apparitions cast on laboratory walls by projection machines, cut-paper figures revealing the “exact proportions” of sea monsters—all were created by members of the Royal Society of London, the leading institutional platform of the early Scientific Revolution. Wicked Intelligence reveals that these natural philosophers shaped Restoration London’s emergent artistic cultures by forging collaborations with court painters, penning art theory, and designing triumphs of baroque architecture such as St Paul’s Cathedral. Matthew C. Hunter brings to life this archive of experimental-philosophical visualization and the deft cunning that was required to manage such difficult research. Offering an innovative approach to the scientific image-making of the time, he demonstrates how the Restoration project of synthesizing experimental images into scientific knowledge, as practiced by Royal Society leaders Robert Hooke and Christopher Wren, might be called “wicked intelligence.” Hunter uses episodes involving specific visual practices—for instance, concocting a lethal amalgam of wax, steel, and sulfuric acid to produce an active model of a comet—to explore how Hooke, Wren, and their colleagues devised representational modes that aided their experiments. Ultimately, Hunter argues, the craft and craftiness of experimental visual practice both promoted and menaced the artistic traditions on which they drew, turning the Royal Society projects into objects of suspicion in Enlightenment England. The first book to use the physical evidence of Royal Society experiments to produce forensic evaluations of how scientific knowledge was generated, Wicked Intelligence rethinks the parameters of visual art, experimental philosophy, and architecture at the cusp of Britain’s imperial power and artistic efflorescence.