Sven Dupré is Director of the Research Institute for History and Art History, and a Professor of History of Art, Science and Technology at Utrecht University and the University of Amsterdam. He was PI of the ARTECHNE project "Technique in the Arts: Concepts, Practices, Expertise, 1500-1950," supported by a European Research Council (ERC) Consolidator Grant (2015-2021). Jenny Boulboullé is a historian and philosopher, studying hands-on practices in the arts and sciences. She has held research positions at Columbia University, Utrecht University, and the University of Amsterdam as a member of the "Making and Knowing" project and the ARTECHNE project, and at the Cultural Heritage Agency of the Netherlands.
Inhaltsangabe
1 Introduction: Experts in the Interbellum Part 1 Science, Authentication and Issues of Conservation 2 "We Cannot Splash Light onto Our Palettes": The 1893 Munich Exhibition and Congress and Its Public Demand for Research on Painting Materials and Techniques 3 A. P. Laurie and the Scientific Appreciation of Art 4 Seeing Through the (Old) Masters: The Crisis of Connoisseurship and the Emergence of Radiographic Art Expertise 5 Rome 1930, the International Conference on the Scientific Analysis of Artworks and Its Legacy in Italy Part 2 Education and Professionalisation 6 Mending, Sticking, and Repairing: Reconstructing Conservation Expertise in Archaeology in the Nineteenth and Twentieth Centuries 7 Wissenschaft, Vocation, or Bildung?: Debating the Sites and Aims of German Art History at the End of the Nineteenth Century 8 Education in the Art and Conservation Field in German Countries 9 Experiments in a Teaching Museum: The Fogg's "Laboratory for Art" Part 3 Museums and Institutions 10 Omnium Gatherum to a 'Treasury of Art and Science': The Development of Conservation Expertise at the Ashmolean Museum 11 The (In)visibility of the Paintings Restorers of the Rijksmuseum in the First Half of the Twentieth Century 12 Gemäldekunde . German Pioneers of the 'Science of Painting' 13 Invention as Necessity: The Salvage of Italian Frescoes During World War II 14 Expertise, Multiple Actors, and Multiple Voices
1 Introduction: Experts in the Interbellum Part 1 Science, Authentication and Issues of Conservation 2 "We Cannot Splash Light onto Our Palettes": The 1893 Munich Exhibition and Congress and Its Public Demand for Research on Painting Materials and Techniques 3 A. P. Laurie and the Scientific Appreciation of Art 4 Seeing Through the (Old) Masters: The Crisis of Connoisseurship and the Emergence of Radiographic Art Expertise 5 Rome 1930, the International Conference on the Scientific Analysis of Artworks and Its Legacy in Italy Part 2 Education and Professionalisation 6 Mending, Sticking, and Repairing: Reconstructing Conservation Expertise in Archaeology in the Nineteenth and Twentieth Centuries 7 Wissenschaft, Vocation, or Bildung?: Debating the Sites and Aims of German Art History at the End of the Nineteenth Century 8 Education in the Art and Conservation Field in German Countries 9 Experiments in a Teaching Museum: The Fogg's "Laboratory for Art" Part 3 Museums and Institutions 10 Omnium Gatherum to a 'Treasury of Art and Science': The Development of Conservation Expertise at the Ashmolean Museum 11 The (In)visibility of the Paintings Restorers of the Rijksmuseum in the First Half of the Twentieth Century 12 Gemäldekunde . German Pioneers of the 'Science of Painting' 13 Invention as Necessity: The Salvage of Italian Frescoes During World War II 14 Expertise, Multiple Actors, and Multiple Voices
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