KONS4046 PENSUM V?ren 2009
Forelesning 1: Historie I, kitt og retusj [100,5]
Sponk, Ron, Standing on the shoulders of giants: the early years of conservation and technical examination of Netherlandish painting at the Fogg Art Museum, Recent developments in the technical examination of early Nederlandish painting: methodology, limitations & perspectives, Harvard University Art Museums (2003), 39-56. [9,5]
Gordon, Dillian, Marin Wyld & Roy Ashok, Fra Angelico’s predella for the high altarpiece of San Domenico, Fiesole, National Gallery technical bulletin 23 (2002), 4-19. [6]
Wallert, Arie, Gwen Tauber & Lisa Murphy, The Holy Kinship, a medieval masterpiece, Waanders publishers, Rijksmuseum, Amsterdam (2001), 5, 41-56. [5,5]
Bomford, David, The conservator as narrator: changed perspectives in the conservation of paintings, Personal Viewpoints, Thoughts about Paintings Conservation, The Getty Conservation Institute, Los Angeles (2001), 1-12. [8]
Wadum, J?rgen, Ravished images restored, Personal Viewpoints, Thoughts about Paintings Conservation, The Getty Conservation Institute, Los Angeles (2001), 59-72 [8]
Ackroyd, Paul, Larry Keith & Dillian Gordon, The restoration of Lorenzo Monaco’s Coronation of the Virgin, retouching and display, National Gallery technical bulletin 21 (2000), 43-57. [6]
Brett, Helen, The conservation history of Samson by Solomon J. Solomon. A century of restoration work at the Walker Art Gallery, The picture restorer no. 14 (1998 Fall), 5-9. [3]
Bomford, D., Changing taste in the restoration of paintings, Restoration is it acceptable?, British Museum, London (1994), 33-40. [7]
Leavengood, Patricia, Loss compensation theory and practice: a brief history, Loss compensation symposium postprints: Western Association for Art Conservation annual meeting 1993, Western Association for Art Conservation (1994), 1-5. [4,5]
Darrow, Elizabeth, “Necessity introduced these arts”, loss compensation in the history of conservation, Loss compensation symposium postprints: Western Association for Art Conservation annual meeting 1993, Western Association for Art Conservation (1994), 7-12. [5]
Brajer, Isabella, A survey of the various retouching systems with a critical evaluation of their use, NMV 93: retusjering, komplettering, rekonstruksjon, Nordisk Ministerr?ds videreutdannelseskurs for konservatorer, Oslo 18-22 oktober 1993, NKF-N (1993), 5-16. [10,5]
“Abstraksjon” og ”seleksjon”: det florentinske syndrom, NMV 93: retusjering, komplettering, rekonstruksjon, Nordisk Ministerr?ds videreutdannelseskurs for konservatorer, Oslo 18-22 oktober 1993, NKF-N (1993), 19. [1]
Weber, Karl Heinz, Die Sixtinische Madonna, Maltechnik Restauro 90, no. 4 (1984), 9-28. [8,5]
Hulmer, E.C., Notes on the formulation and application of adhesives and supports, Bulletin of the American Group (IIC) 12, no. 1 (1971 Oct), 46-54. [6,5]
Feller, RL., Problems in retouching: chalking of intermediate layers, Bulletin of the American Group (IIC) vol. 7, no. 1 (1966), 32-34. [2,5]
Hendy, Philip, Taste and science in the presentation of damaged pictures, Studies in Western art: acts of the 20th International Congress of the History of Art, New York, 7-12 September 1961, Princeton University Press (1963), 139-145. [7]
Mogford, Henry, The restoration of paintings, Hand-book for the preservation of pictures: containing practical instructions for cleaning, lining, repairing, and restoring oil paintings, Winsor & Newton, London (1853) 58-63. [5]
Forelesning 2: Historie II, ferniss [105,5]
Szafran, Yvonne & Narayan Khandekar, Varnish and early Italian paintings: evidence and implications, Early Italian paintings, approaches to conservation: proceedings of a symposium at the Yale University Art Gallery, April 2002, Yale University Press (2003), 108-119. [6]
Mayer, Lance & Gay Myers, A note on the early use of dammar varnish, Studies in Conservation 47, no. 2 (2002), 134-138. [3]
van den Berg, Klaas Jan, Jort Ossebaar & Henk van Keulen, Analysis of copal resins in 19th century oil paints and resin/oil varnishes, Art 2002: 7th International Conference on Non-destructive Testing and Microanalysis for the Diagnostics and Conservation of the Cultural and Environmental Heritage, Antwerp 2-6 June 2002, University of Antwerp (2002), 10pp. [6]
White, Raymond & Jo Kirby, A survey of nineteenth- and early twentieth-century varnish compositions found on a selection of paintings in the National Gallery collection, National Gallery technical bulletin 22 (2001), 64-84. [9]
Stappe, Matthias, Schellack: Eigenschaften, Verwendung, Untersuchungsmethoden, Restauro: Zeitschrift für Kunsttechniken, Restaurierung und Museumsfragen 107 no. 8 (2001 Dec), 596-603. [6,5]
Leonard, Mark, Narayan Khandekar & Dawson W. Carr, ?Amber varnish“ and Orazio Gentileschi’s Lot and His Daughter, The Burlington magazine 143 no. 1174 (2001), 4-10. [4]
Dunkerton, Jill & Raymond White, The discovery and identification of an original varnish on a panel by Carlo Crivelli, National Gallery technical bulletin 21 (2000), 70-75. [3]
Endemann, Klaus, Firniskolloquium. Ist das der Stand der Forschung?, Restauro: Zeitschrift für Kunsttechniken, Restaurierung und Museumsfragen 106 no. 2 (2000), 126-129. [2,5]
Lehmann, Jirina, ?l-, Harz?l- und Harzfirnisse in der Quellenschriften zur Maltechnik von der Sp?tantike bis zum Beginn der Neuzeit: ein Beitrag zur Interpretation der Anweisungen, Firnis: Material, ?sthetik, Geschichte: Internationales Kolloquium Braunschweig 15-17 Juni 1998, Herzog Anton Ulrich Museum (1999), 63-79. [12,5]
Carlyle, Leslie, Nancy Binnie, Gisela van der Doelen, Jaap J. Boon, Bonnie McLean & Anne Ruggles, Traditional painting varnishes project: preliminary report on natural and artificial aging and a note on the preparation of cross-sections. Firnis: Material, ?sthetik, Geschichte: Internationales Kolloquium Braunschweig 15-17 Juni 1998, Herzog Anton Ulrich Museum (1999), 110-127. [12]
Peres, Cornelia, Matte Oberfl?chen und Eiweissfirnisse bei Van Gogh und Zeitgenossen, Firnis: Material, ?sthetik, Geschichte: Internationales Kolloquium Braunschweig 15-17 Juni 1998, Herzog Anton Ulrich Museum (1999), 183-187. [3,5]
Van den Berg, Jan Klaas, Jerre van der Horst & Jaap J. Boon, Recognition of copals in aged resin/oil paints and varnishes, ICOM-CC 12th Triennial Meeting Lyon, 29 August – 3 September 1999, London (1999), 855-861. [4] Reifsnyder, J.M., A note on a traditional technique of varnish application for paintings on panel, Studies in Conservation 41 no. 2 (1996), 120-122. [2]
Williams, Donald C., The past and future history of natural resin as coating material in conservation, Resins, ancient and modern, Scottish Society for Conservation and Restoration, Edinburgh (1995), 88-92. [4]
Kaspar, Gerald, Mastic varnish, The Picture Restorer, no. 5 (1994), 16-18. [2,5]
White, R., The chemistry of natural varnishes, Varnishing, theory & practice, ABPR 50th anniversary conference September 1993, (1993), 3-4. [1,5]
Cession, Christine, The surface of baroques gildings: examination, conservation, restoration, IIC Brussel Congress, 3-7 September 1990, London (1990), 33-35. [2]
Dunkerton, Jill, Jo Kirby & Raymon White, Varnish and early Italian tempera Paintings, IIC Brussel Congress, 3-7 September 1990, London (1990), 63-69. [3,5]
de la Rie, René E., Old master paintings: a study of the varnish problem, Analytical Chemistry 61 no. 21 (1989) 1228A-1233A, 1237A-1240A. [4]
Mogford, Henry, The varnishing of paintings, Hand-book for the preservation of pictures: containing practical instructions for cleaning, lining, repairing, and restoring oil paintings, Winsor & Newton, London (1853), 55-58. [4]
Forelesning 4: Kitt og retusjer: dagens materialer og metoder [102]
Wiik, Svein A., Perception psychology in re-integration processes, The Postprints of the Image Re-integration Conference 15 – 17 September 2003, Northumbria University (2007), pp. 97-101. [2,5]
Szmit-Naud, Elzbieta, Research on materials for easel painting retouches: part 2, The Picture Restorer no 24 (2003), 5-9. [2,5]
Szmit-Naud, Elzbieta, Research on materials for easel painting retouches: part 1, The Picture Restorer no 23 (2003), 5-10. [3,5]
Ember, Lois R, Making paints: Gamblin bets on conservation, Chemical and Engineering News 79, no. 31 (2001 Jul 30), pp. 58. [1,5]
de la Rie, René E., Suzanne Quillen Lomax, Michael Palmer, Lisha Deming Glinsman & Christopher A. Maines, An investigation on the photochemical stability of urea-aldehyde resin retouching paints: removability tests and colour spectroscopy, IIC Melbourne conference, 10-14 October 2000, London (2000), 51-59. [3,5]
Leonard, Mark, Jill Whitten, Robert Gamblin & E. René de la Rie, Development of a new material for retouching, IIC Melbourne conference, 10-14 October 2000, London (2000), 111-113. [2,5]
Saunders, David, Retouching: colour vision and optical considerations, Retouching Filling Conference 2000, National Gallery, London (2000), 3-9. [4,5]
Ramsay, Louise, An evaluation of Italian retouching techniques, Retouching Filling Conference 2000, National Gallery, London (2000),10-13. [2,5]
Ackroyd, Paul & Larry Keith, The restoration and reconstruction of Lorenzo Monacco’s Coronation of the Virgin, Retouching Filling Conference 2000, National Gallery, London (2000), 14-18. [4]
Perry, Roy A., Retouching damaged modern art, Retouching Filling Conference 2000, National Gallery, London (2000), 19-22. [2]
Joubert, Caroline & Alan Phenix, An evaluation of transparent yellow pigments for use in retouching of paintings, Retouching Filling Conference 2000, National Gallery, London (2000), 23-32. [5]
Gritt, Steven, Different approaches to retouching, the portrait of Sir John Luttrell by Hans Eworth, Retouching Filling Conference 2000, National Gallery, London (2000), 33-38. [3,5]
Green, Timothy & Samantha Hodge, Ben Nichcolson’s Festival of Britain Mural, Retouching Filling Conference 2000, National Gallery, London (2000), 39-44. [3]
Nicolaus, Knut, Filling, The restoration of paintings, K?nemann Verlagesellschaft mbH (1999), 235-256. [11]
Nicolaus, Knut, Retouching, The restoration of paintings, K?nemann Verlagesellschaft mbH (1999), 257-307. [22]
Lewis, Mark, V., Filling in the gaps; the conservation of a 17thC English panel painting, AIC Paintings Speciality Group Postprints, San Diego CA 13-14 juli, 1997, AIC Washington D.C. (1997), 106-113. [3]
Caley, Tom, Drained watercolour as a retouching medium, The Picture Restorer no. 11 (1997 Spring), 5-8. [3]
Berger, Gustav A., Inpainting media and varnishes which do not discolor. Part II: Inpainting (retouching), The Picture Restorer no. 9 (1996) 5-8. [1,5]
Berger, Gustav A., Inpainting media and varnishes which do not discolor. Part I: Inpainting (retouching), The Picture Restorer no. 8 (1995 Autumn) 5-8. [2]
Cope, Barry, Audrey Matthews & Norma Garrington, The effect of pigments and other additives on the curing and service performance of filling and retouching media, 1, initial investigations on epoxide resins, Resins, ancient and modern, Scottish Society for Conservation and Restoration, Edinburgh (1995), 13-16. [2,5]
Whitesmore, Paul M. & Catherine Bailie, Studies of the photochemical stability of synthetic resin-based retouching paints: the effects of white pigments and extenders, IIC Brussel Congress, 3-7 September 1990, London (1990), 144-149. [3]
Berger, Gustav, Inpainting using PVA medium, IIC Brussel Congress, 3-7 September 1990, London (1990), 150-155. [4]
Berns, Roy S. & Franc Grum, Exhibiting artwork: consider the illuminating source, Color Research and Application 12, no. 2 (1987), 63-72. [5]
Plahter, Leif Einar, Restaurerings- og konserveringsproblemer i bildende kunst, Meddelelser om konservering 3, no. 10 (1986), 370-373. [3,5]
Staniforth, Sarah, Retouching and colour matching: the restorer and metamerism, Studies in Conservation 30, no. 3 (1985), 101-111. [4]
Forelesningene 6 og 7: Nyere fernisseringsmaterialer og metoder I og II [202,5]
Berns, Roy & René E. de la Rie, Exploring the optical properties of picture varnishes using imaging techniques, Studies in Conservation 48, no. 2 (2003), 73-62. [5,5]
Berns, Roy & René E. de la Rie, The effect of the refractive index of a varnish on the appearance of oil paintings, Studies in Conservation 48, no. 4 (2003), 251-262. [7,5]
Ara, Katherine, Simon Folkes, Tim Green, Simon Howell, Nonie Tasker & Alexander Walker, Some ethical implications of using ultra-violet barrier varnishes, The Picture Restorer no. 23 (2003), 13-14. [1,5]
Koneczny, Peter, The use of ultraviolet stabilised varnishes and fluorescent varnishes in the treatment of paintings, The Picture Restorer no. 23 (2003), 14-15. [1]
Berns, Roy & René E. de la Rie, The relative importance of surface roughness and refractive index in the effects of varnishes on the appearance of paintings, ICOM-CC Triennial Meeting Rio de Janeiro, 22-27 September 2002, London (2002), 211-216. [4]
de la Rie, René E., Suzanne Quillen Lomax, Michael Palmer & Christopher A. Maines, An investigation of the photochemical stability of films of the urea-aldehyde resins Laropal ? A 81 and Laropal ? A 101, ICOM-CC Triennial Meeting Rio de Janeiro, 22-27 September 2002, London (2002), 881-887. [5]
Arslanoglu, Julie & Tom Learner, The evaluation of Laropal A81: Paraloid B-72 polymer blend varnishes for painted and decorative surfaces: appearance and practical considerations, The Conservator no. 25 (2001), 62-72. [6]
Sutherland, Ken, The extraction of soluble components from an oil paint film by varnish solution, Studies in Conservation 45 no. 1 (2000), 54-62. [5,5]
Nicolaus, Knut, The restoration of paintings, K?nemann Verlagesellschaft mbH (1999), 310-325. [8,5]
Ciabach, Jerzy, Modern varnishes: ageing and possibility of stabilization, Firnis: Material, ?sthetik, Geschichte: Internationales Kolloquium Braunschweig 15-17 Juni 1998, Herzog Anton Ulrich Museum (1999), 105-109. [3]
Koller, Johan & Ursula Baumer, Synthetic resins and synthetic varnishes: mechanical properties, ageing behaviour and solubility, Firnis: Material, ?sthetik, Geschichte: Internationales Kolloquium Braunschweig 15-17 Juni 1998, Herzog Anton Ulrich Museum (1999), 128-141. [7,5]
de la Rie, René E., Polymer additives for synthetic low-molecular-weight varnishes, Firnis: Material, ?sthetik, Geschichte: Internationales Kolloquium Braunschweig 15-17 Juni 1998, Herzog Anton Ulrich Museum (1999), 142-151. [6]
Samet, Wendy H., Factors to consider when choosing a varnish, AIC, Painting Conservation Catalog Volume 1, Varnishes and surface coatings (1998), 1-20. [13]
Abercaupb, Carole, Wax as a surface coating, AIC, Painting Conservation Catalog Volume 1, Varnishes and surface coatings (1998), 201-209. [4]
Bordeau, James, Phenolic Antioxidants, stabilizers, and UV absorbers, AIC, Painting Conservation Catalog Volume 1, Varnishes and surface coatings (1998), 213-220. [5,5]
Wolbers, Richard, Matting Agents, AIC, Painting Conservation Catalog Volume 1, Varnishes and surface coatings (1998), 221. [1]
Jaworski, Monica, Varnishing brushes, AIC, Painting Conservation Catalog Volume 1, Varnishes and surface coatings (1998), 225-236. [10]
Ocon, Noelle & David Miller, Spray varnishing equipment, AIC, Painting Conservation Catalog Volume 1, Varnishes and surface coatings (1998), 237-248. [11]
Zuccari, Frank, Mouth Atomizer, AIC, Painting Conservation Catalog Volume 1, Varnishes and surface coatings (1998), 249-250. [1,5]
Samet, Wendy H., General application techniques, AIC, Painting Conservation Catalog Volume 1, Varnishes and surface coatings (1998), 251-271. [17]
Ciabach, Jerzy, Plasticised and stabilised cyclohexanone varnishes, Resins, ancient and modern, Scottish Society for Conservation and Restoration (1995), 85-87. [2]
Rathbone Roche, Joan, Tests and reactions of superimposed varnish layers, The Picture Restorer no. 5 (1994), 14-15. [2]
de la Rie, René E., Polymer additives for synthetic low-molecular-weight varnishes, ICOM-CC 10th Triennial Meeting Washington, DC, London (1993) 566-573. [5]
Rees Jones, Stephen, A note on the transfer of light into and out of paintings, Studies in Conservation 38 no. 3 (1993), 174-179. [3]
de la Rie, René E. & Christopher W. Mcglinchey, The effect of a hindered amine light stabilizer on the ageing of dammar and mastic varnish in an environment free of ultraviolet light, IIC Brussel Congress, 3-7 September 1990, London (1990), 160-164. [3,5]
Bourdeau, James, A further examination of the barrier properties of Tinuvin 327 ultraviolet absorber in the protection of dammar films, IIC Brussel Congress, 3-7 September 1990, London (1990), 165-167. [2]
de la Rie, René E. & Christopher W. Mcglinchey, New synthetic resins for picture varnishes, IIC Brussel Congress, 3-7 September 1990, London (1990), 168-173. [3,5]
Leonard, Mark, Some observations on the use and appearance of two new synthetic resins for picture varnishes, IIC Brussel Congress, 3-7 September 1990, London (1990), 174-176. [2]
de Witte, Eddy, General problems of picture varnishes and the latest evolutions, NKF-N ferniss-seminar 1990, Nasjonalgalleriet (1990), 54-61. [6]
de la Rie, René E., An evaluation od Irganox as a stabilazer for dammar picture varnishes, Studies in Conservation 33 no. 3 (1988), 109-114. [3,5]
de la Rie, René E., The influence of varnish on the appearance of paintings, Studies in Conservation 32 (1987), 1-13. [8,5]
Raft, Karen, A preliminary report on the possibility of using bleached beeswax to improve the resolubility of picture varnishes based on polycyclohexanones, Studies in Conservation 30 no. 3 (1985), 143-144. [1,5]
de la Rie, René E., Fluorescence of paint and varnish layers (Part I), Studies in Conservation 27 no. 1 (1982 Feb), 1-7. [3,5]
de la Rie, René E., Fluorescence of paint and varnish layers (Part II), Studies in Conservation 27 no. 2 (1982 May), 65-69. [2]
de la Rie, René E., Fluorescence of paint and varnish layers (Part III), Studies in Conservation 27 no. 3 (1982 Aug), 102-108. [2,5]
Lafontaine, Raymond H., Use of stabilizers in varnish formulations, ICOM-CC 6th Triennial Meeting Ottawa, 21-25 September 1981, (1981), 81165-1-81165-17. [7]
Lafontaine, Raymond H., Decreasing the yellowing rate of dammar varnish using antioxidants, Studies in Conservation 24, no. 2 (1979), 14-22. [6]
de Witte, Eddy & Myriam Goessens-Landrie, The influence of light on the appearance and the stability of varnish, Bulletin Institut Royal du Patrimoine Artistique 17 (1978-79), 106-121. [7]
de Witte, Eddy, The influence of light on the gloss of matt varnishes, ICOM-CC 4th Triennial Meeting, Venice 13-16 October 1975, (1975), 75226-1-75226-9. [3]
Forelesning 9: Visuell reintegrering av moderne kunst
Abraham, Liesbeth. 1999. ?Treatment is almost impossible.` I Modern Art: Who cares?. Hummelen, Isjbrandt & Sillé Dionne (red). Amsterdam: The foundation for the Conservation of Modern Art and the Netherlands Institute for Cultural Heritage. Side 364 – 366.
Beunen, Annemarie. 1999. ?Moral Rights in Modern Art: An International Survey.` I Modern Art: Who cares?. Hummelen, Isjbrandt & Sillé Dionne (red). Amsterdam: The foundation for the Conservation of Modern Art and the Netherlands Institute for Cultural Heritage. Side 221 – 232.
Coddington, James. 2007. ?Modern Paints, Consrevation of.` Modern Paints Uncovered. Proceedings from the Modern Paints Uncovered Symposium. Organized by the Getty Conservation Institute, Tate, and the National Gallery of Art. Tate Modern, London May 1-19, 2006. Edited by Thomas S. Learner (et.al.). Los Angeles: Getty Publications. Side 30 -40.
Haiml, Christa. 2007. ?Restoring the Immaterial: Study and Treatment of Yves Klein`s Blue Monochrome (IKB 42).` Modern Paints Uncovered. Proceedings from the Modern Paints Uncovered Symposium. Organized by the Getty Conservation Institute, Tate, and the National Gallery of Art. Tate Modern, London May 1-19, 2006. Edited by Thomas S. Learner (et.al.). Los Angeles: Getty Publications. Side 149 – 156.
Ketnath, Artur. 1999. ?How to conserve Motion.` I Modern Art: Who cares?. Hummelen, Isjbrandt & Sillé Dionne (red). Amsterdam: The foundation for the Conservation of Modern Art and the Netherlands Insitute for Cultural Heritage. Side 369 – 372.
Khandekar, Narayan, Nagy, Eleonora, Miller, Kulian, Gottschaller, Pia og Mancusi-Ungaro, Carol. 2007. ?The Re-restoration of Donald Judd`s Untitled, 1965.` Modern Paints Uncovered. Proceedings from the Modern Paints Uncovered Symposium. Organized by the Getty Conservation Institute, Tate, and the National Gallery of Art. Tate Modern, London May 1-19, 2006. Edited by Thomas S. Learner (et.al.). Los Angeles: Getty Publications. Side 157 – 164.
Learner, Thomas J.S. 2007. ?Modern Paints: Uncovering the Choices`. Modern Paints Uncovered. Proceedings from the Modern Paints Uncovered Symposium. Organized by the Getty Conservation Institute, Tate, and the National Gallery of Art. Tate Modern, London May 1-19, 2006. Edited by Thomas S. Learner (et.al.). Los Angeles: Getty Publications. Side 3 – 16.
Leeuw, Riet de. 1999. ?The Precarious Reconstruction of Installation.` I Modern Art: Who cares?. Hummelen, Isjbrandt & Sillé Dionne (red). Amsterdam: The foundation for the Conservation of Modern Art and the Netherlands Insitute for Cultural Heritage. Side 212 – 221.
Lennard, Frances. 2005. ?The impact of artists' moral rights legislation on conservation practice in the United Kingdom and beyond.` I 14th triennial meeting, The Hague, 12-16 September 2005: preprints (ICOM Committee for Conservation). Verger, Isabelle (Editor). Earthscan Ltd. Side 285-290.
Lorne, Aleth. 1999. ?Experiments in the conservation of Foam Objects.` I Modern Art: Who cares?. Hummelen, Isjbrandt & Sillé Dionne (red). Amsterdam: The foundation for the Conservation of Modern Art and the Netherlands Insitute for Cultural Heritage. Side 143 – 148.
Mack, Abigail, Sturman, Shelley og Escarsega, John A. 2007. ?Adapting Military Camouflage Paint for Matte Outdoor Sculpture.` Modern Paints Uncovered. Proceedings from the Modern Paints Uncovered Symposium. Organized by the Getty Conservation Institute, Tate, and the National Gallery of Art. Tate Modern, London May 1-19, 2006. Edited by Thomas S. Learner (et.al.). Los Angeles: Getty Publications. Side 66 – 74.
Mancusi-Ungaro, Carlo. 1999. ?Original intent: The artist`s voice.` I Modern Art: Who cares?. Hummelen, Isjbrandt & Sillé Dionne (red). Amsterdam: The foundation for the Conservation of Modern Art and the Netherlands Insitute for Cultural Heritage. Side 392 -393.
Mancusi-Ungaro, Carlo. 2005. ?Material and method in modern art: a collaborative challenge.` I Scientific examination of art: modern techniques in conservation and analysis, National Academy of Sciences, Washington, DC, March 19-21, 2003. National Academies Press. Side 152 – 161.
Perry, Roy A. 2000. ?Retouching damaged modern art`. Retouching and Filling. The Assosiaction of British Picture Restorers Conference 2000. Side 19 – 22. Oxford: Parchment.
Sauerberg, Marie Louise. 1999. ?Proceeding` I Modern Art: Who cares?. Hummelen, Isjbrandt & Sillé Dionne (red). Amsterdam: The foundation for the Conservation of Modern Art and the Netherlands Insitute for Cultural Heritage. Side 366 – 368.
Vall, Renée van de. 1999. ?Painful decisions: Philosophical Considerations on a Decision-making Model.` I Modern Art: Who cares?. Hummelen, Isjbrandt & Sillé Dionne (red). Amsterdam: The foundation for the Conservation of Modern Art and the Netherlands Insitute for Cultural Heritage. Side 196 – 200.
Wetering, Ernst van de. 1999. ?Conservation-Restoration Ethics and the Problem of Modern Art.` I Modern Art: Who cares?. Hummelen, Isjbrandt & Sillé Dionne (red). Amsterdam: The foundation for the Conservation of Modern Art and the Netherlands Insitute for Cultural Heritage. Side 247 – 249.
Wijnberg, Louise. 1999. ?Problems of perfection.` I Modern Art: Who cares?. Hummelen, Isjbrandt & Sillé Dionne (red). Amsterdam: The foundation for the Conservation of Modern Art and the Netherlands Insitute for Cultural Heritage. Side 362 – 363.
For paragrafer brukt i forelesning se: http://www.lovdata.no/all/nl-19610512-002.html
http://www.icom-norway.org/etiske.html
Tilleggslitteratur:
McClure, Ian, A developing approach to the re-integration of medieval panel paintings, The Postprints of the Image Re-integration Conference 15 – 17 September 2003, Northumbria University (2007), pp. 113-119.