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The use of microclimate boxes to protect vulnerable panel paintings is, therefore, not a new phenomenon of the past two or three decades. Rather, it has been a concern for conservators and curators to protect these objects of art at home and in transit since the end of the nineteenth century. The increased number of travelling exhibitions in recent years has heightened the need to protect paintings during circulation (Thomson 1961; Mecklenburg 1991). The use and design of microclimate boxes have been evolving since 1892. These boxes may be divided into three broad groups: those using an active buffer material to stabilize the internal RH, a more recent box containing no added buffer material, and, in recent times, boxes with an altered gas content. Another concern is the appearance (aesthetics) of the box.
|Titel||The structural conservation of panel paintings: proceedings of a symposium at the J. Paul Getty Museum, 24-28 April 1995|
|Redaktører||Kathleen Dardes, Andrea Rothe|
|Forlag||Getty Conservation Institute|
|Status||Udgivet - 1998|