Pop-Up Conservation Lab: Treating the Cosmic Man
Tuesday, August 20, 2019 - Friday, September 27, 2019
THE PARSONS CONSERVATION LABORATORY is located on the Plaza Level of the Carlos Museum, in an area that is only accessible to staff. In celebration of the museum's centennial, the conservators have set-up this temporary lab in order to share their work with the public. In August and September 2019 a team of staff and consulting conservators along with several interns worked to stabilize an Indian painting of the Cosmic Man, a visual representation of the Jain universe.
In order to prepare the fragile painting for display, the conservators secured loose paint, reduced surface dirt, relaxed folds, and attached the painting to a rigid support. Conservators used tools, such as brushes, tweezers, and a low-suction vacuum. The close work also required the use of magnification visors. Visitors observed the progress as conservators delivered adhesive to re-attach flaking paint and applied specially formulated cleaning solutions to remove grime. Toward the end of the project conservators prepared a support for the painting's display and long term storage, stitching the painting to this support with small needles.
The conservation process begins with thorough documentation to record materials and to understand manufacturing techniques, as well as recognize conditions that require treatment. Emory students enrolled in the fall 2018 Technical Art History class examined and analyzed the painting with the conservators. They used ultraviolet and infrared imaging techniques along with light microscopy and x-ray fluorescence spectroscopy to study the textile substrate and the paints. Their investigation of materials suggests a late 19th-century or early 20th-century date for the creation of the painting, which agrees with the art historical dating. The students also mapped the locations of paint losses, stains, folds, holes, and old repairs. These conditions explain why the painting appears as it does today and reflect a history of use, repair, damage, and storage. Images and analyses from this examination were presented on an iPad in the gallery.
The Carlos was delighted to bring this encounter with conservation to museum visitors. The conservation team shared details of the project during a panel discussion on September 19, 2019 in Ackerman Hall on Level Three. For more information, please visit the project's micro-site.
Few small institutions or university museums have in-house conservation facilities and staff. THE KAREN MARIEA MADSEN PARSONS CONSERVATION LABORATORY was established in 1993 to provide collections care, contribute to research, and create opportunities for students. Before the lab was created, the museum relied on contract conservators to advise on preventive care and conduct treatment on specific objects. The lab is staffed by two conservators who specialize in three-dimensional objects, and consulting conservators contribute expertise in textiles, paper, photographs, paintings, and even mummies. The lab hosts an advanced fellowship for a recent graduate of a conservation degree-program. The Andrew W. Mellon Foundation generously supports this fellowship as well as the lab's research and teaching. Like the interns who participated in this treatment project, students from Emory or area universities gain exposure to technical research and conservation practice in the Parsons Lab . Many former student interns have pursued careers in art conservation or other museum professions.
In order to prepare the fragile painting for display, the conservators secured loose paint, reduced surface dirt, relaxed folds, and attached the painting to a rigid support. Conservators used tools, such as brushes, tweezers, and a low-suction vacuum. The close work also required the use of magnification visors. Visitors observed the progress as conservators delivered adhesive to re-attach flaking paint and applied specially formulated cleaning solutions to remove grime. Toward the end of the project conservators prepared a support for the painting's display and long term storage, stitching the painting to this support with small needles.
The conservation process begins with thorough documentation to record materials and to understand manufacturing techniques, as well as recognize conditions that require treatment. Emory students enrolled in the fall 2018 Technical Art History class examined and analyzed the painting with the conservators. They used ultraviolet and infrared imaging techniques along with light microscopy and x-ray fluorescence spectroscopy to study the textile substrate and the paints. Their investigation of materials suggests a late 19th-century or early 20th-century date for the creation of the painting, which agrees with the art historical dating. The students also mapped the locations of paint losses, stains, folds, holes, and old repairs. These conditions explain why the painting appears as it does today and reflect a history of use, repair, damage, and storage. Images and analyses from this examination were presented on an iPad in the gallery.
The Carlos was delighted to bring this encounter with conservation to museum visitors. The conservation team shared details of the project during a panel discussion on September 19, 2019 in Ackerman Hall on Level Three. For more information, please visit the project's micro-site.
Few small institutions or university museums have in-house conservation facilities and staff. THE KAREN MARIEA MADSEN PARSONS CONSERVATION LABORATORY was established in 1993 to provide collections care, contribute to research, and create opportunities for students. Before the lab was created, the museum relied on contract conservators to advise on preventive care and conduct treatment on specific objects. The lab is staffed by two conservators who specialize in three-dimensional objects, and consulting conservators contribute expertise in textiles, paper, photographs, paintings, and even mummies. The lab hosts an advanced fellowship for a recent graduate of a conservation degree-program. The Andrew W. Mellon Foundation generously supports this fellowship as well as the lab's research and teaching. Like the interns who participated in this treatment project, students from Emory or area universities gain exposure to technical research and conservation practice in the Parsons Lab . Many former student interns have pursued careers in art conservation or other museum professions.
