Os alunos do 3ºano da licenciatura em Conservação/Restauro e o Departamento de Conservação e Restauro da Faculdade de Ciências e Tecnologias da Universidade Nova de Lisboa organizam, nos próximos dias 16 e 17 de fevereiro, uma conferência pioneira sobre Conservação e Restaurocom o objectivo de abrir as portas à comunidade, divulgando a importância desta profissão no contexto do Património Cultural e Público.
Local: Campus da Caparica.
Para mais informações consulte o site http://eventos.fct.unl.pt/cores-patrimonio/ ou envie um e-mail através: geral.conferencia@gmail.com
CDS-Documentation é um programa para registo e documentação das intervenções de Conservação e Restauro. Foi desenhado pelo conservador John R. Watson e desenvolvido pelo programador James F. Judson. Está disponível livremente aqui.
Condiciones de inscripción de la 13ª Jornada de Conservación de Arte Contemporáneo
Fechas: 16 y 17 febrero, 2012 Horario: 09:00 h a 18:00 h Duración: 20 horas lectivas Lugar: Edificio Nouvel. Auditorio 400 Acceso: Entrada por Ronda de Atocha, s/n.
Reducida:
Estudiantes: 25 euros
Miembros del GEIIC, empleados del Ministerio de Educación, Cultura y Deporte y empleados de museos: 20 euros
Pago
Cuenta de ingreso: Banco Santander. 0049 2150 42 2594025932
Titular: GEIIC
Concepto: 13 Jornada
Certificado
Se expedirá certificado de asistencia avalado por los organizadores, siempre que se haya formalizado la inscripción y asistido ambos días, dejando constancia en la hoja de firmas. Este certificado se entregará el viernes 17 Febrero 2012 por la tarde.
Crédito universitario
Se concede 1 crédito universitario para los estudiantes de la Universidad Complutense de Madrid para el curso 2011-2012. Para su concesión, será necesaria la entrega de una memoria (informe escrito resumiendo la actividad de un mínimo de tres folios, doble espacio, Times New Roman 12) de la actividad antes del 12 marzo 2012 (enviándola por correo electrónico ajornada.conservacion@museoreinasofia.es)
This website offers a scientific research tool for Heritage Studies, in particular easel and panel Paintings.
The site structure includes the following bibliographic resources: Portuguese painters, Documentation ( Photography, Photogrammetry, LASER scanning, multispectral, imaging ), Technical Analysis, Materials, Conservation methodologies (Easel supports, Wood supports, Cleanings, Retouching, Varnishing), Web resources and references for Writing scientific paper. The last subpage is about author’s biography and published papers.
The references are listed in chronological order.
This ongoing project is supported by two fellowships provided by Fundação para a Ciência e Tecnologia (FCT): SFRH/BD/42488/2007 and SFRH/BD/69783/2010. The first one has also been supported by Programa Operacional Ciência e Inovação 2010 (POCI 2010), co-funded by the Portuguese Government and European Union by FEDER Program. The second one has been supported by QREN - POPH, co-funded by the Portuguese Government and European Union by MCTES.
Louvre's Leonardo was overcleaned, say art experts
Ségolène Bergeon Langle and Jean-Pierre Cuzin
quit advisory posts over The Virgin and Child With
St Anne's restoration
The Louvre is facing accusations that it overcleaned a masterpiece byLeonardo da Vinci, leaving it with a brightness that the Renaissance master never intended.
Two of France's top art experts have voiced their protest over the cleaning of The Virgin and Child with Saint Anne – a jewel of western art – by resigning from the Paris museum's advisory committee responsible for its "restoration", the Guardian has learned.
Such was their concern for the 500-year-old painting that Ségolène Bergeon Langle and Jean-Pierre Cuzin – eminent former specialists in conservation and painting respectively at the Louvre – could no longer associate themselves with its treatment.
Bergeon Langle is regarded as France's national authority on the art and the science of restoring paintings. She was director of conservation for all of France's national museums.
She said: "I can confirm that I have resigned from the international consultative committee, but my reasons I am reserving for a meeting with the president-director of the Louvre, Henri Loyrette."
Cuzin, the Louvre's former head of paintings, declined to comment beyond confirming his resignation. But a senior museum source said the experts believed the restoration had gone too far, and that steps had gone ahead without adequate tests. The restoration has divided the committee between those who believe the painting is now too bright and those who regard the cleaning as moderate. There were also disputes over whether an area dismissed as removable repaint was in fact a glaze applied by Leonardo.
Two such resignations are a major embarrassment for the Louvre as well as for fellow colleagues of the international committee, whose 20 members include two specialists from the National Gallery in London, Larry Keith and Luke Syson.
The Louvre source said that Keith and Syson were particularly keen on this restoration: "The English were very pushing, saying they know Leonardo is extremely delicate but 'we can move without any danger to the work'. There was a row a year ago about solvents because they said they were safe and Bergeon Langle said they're not safe. It took a long time before the committee really had explanations on the chemicals used on the picture. Details were asked for [by the critics on the committee], but didn't come for months …
"There are people who are very much for bright hues and strong cleaning. Those people are in charge."
The Louvre source, too, has concerns that it has been overcleaned, but awaits the reaction once the painting is viewed again by experts on 3 January. They will then decide on the retouching.
Jacques Franck, consulting expert to the Armand Hammer centre for Leonardo studies at the University of California, Los Angeles, is another member of the committee. He described the resignations as a loss, saying Bergeon Langle was "totally irreplaceable as a technical adviser to the committee".
Seventeen years ago, the Louvre abandoned an earlier attempt to clean the painting amid fears over how the solvents were affecting the sfumato, Leonardo's trademark painterly effect for blurring contours. Since then, the British influence on restoration has helped to sway the Louvre.
Michael Daley, director of ArtWatch UK, the restoration watchdog that has repeatedly criticised the National Gallery for its "overzealous" cleaning of paintings, said of the resignations: "Implicitly, this is a vote of no confidence in the National Gallery cleaning policy because the most pro-active members of the [Louvre] committee have been the advisers from the National Gallery."
The Louvre declined to comment on the two resignations, but defended its cleaning process. Vincent Pomarède, the Louvre's head of paintings, said: "Rarely has a restoration been as well prepared, discussed and effected, and never will it have benefited from such effective techniques. The first assessment revealed the excellent state of conservation … comforting us in the choices made."
Decreto-Lei n.º140/2009, do dia 15 de Junho de 2009.
CAPÍTULO IV
Bens culturais móveis
Artigo 18.º Autoria do relatório prévio para bens culturais móveis
1 — O relatório prévio relativo a obras ou intervenções de conservação e restauro em bens culturais móveis é da responsabilidade de um técnico habilitado com formação superior de cinco anos em conservação e restauro e cinco anos de experiência profissional após a obtenção do título académico.
2 — A formação superior e a experiência profissional referidas no número anterior devem ser relevantes na respectiva área de especialidade e no âmbito das obras ou intervenções em causa.
3 — A administração do património cultural competente pode, a título excepcional e de forma fundamentada, admitir técnicos com qualificações académicas inferiores às exigidas no presente decreto -lei para a elaboração do relatório prévio relativo a obras ou intervenções em bens culturais móveis desde que adequadas para o efeito e sem prejuízo de um mínimo de cinco anos de experiência profissional na respectiva área de especialidade.
Regime sancionatório
Artigo 28.º
Contra -ordenações e coimas
Constitui contra -ordenação punível com a coima de € 500 a € 3500 e de € 3500 a € 25 000, conforme se trate de pessoas singulares ou de pessoas colectivas, respectivamente:
a) A omissão injustificada de entrega do relatório previsto no artigo 9.º;
b) A omissão injustificada de entrega do relatório final previsto no artigo 10.º;
c) A omissão injustificada de entrega dos elementos referidos no n.º 3 do artigo 11.º;
d) A omissão injustificada das comunicações referidas no artigo 23.º e no n.º 2 do artigo 24.º;
e) O incumprimento do disposto no n.º 2 do artigo 22.º;
f) O incumprimento do disposto no n.º 1 do artigo 24.º
Level of Education by ECCO (European Confederation of Conservator-Restorers' Organisations)
II. Level of Education
The minimum level for entry into the profession as a qualified Conservator- Restorer should be at Master's level (or recognised equivalent). This should be achieved by a period of full-time study in conservation-restoration of no less than 5 years at a university (or at a recognised equivalent level) and should include well-structured practical internships. It should be followed by the possibility of study to PhD level.
Cartaz (pormenor)
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