Yeah. Yeah. Yeah. The US greetings to all of you. I'm Debbie Norris and I have the great honor and privilege to chair the department of Art Conservation at the University of Delaware into direct the winter university Diller program in Art Conservation. We're pleased that you're all here with us. On the second and final day of our webinar, presenting the final talks for the winter university DO-IT program in art conservation. On behalf of our current students, faculty and staff. I welcome again with great affection and admiration, the class of 2020. Today our five presenters will be speaking from locations across the nation, as well as from the Netherlands. Yesterday was fabulous, totally inspiring. And I have no doubt that today will be the same. And well, you're not gathered in person. We are connected, totally connected in spirit. The resume. Some of these presentations maybe pre-recorded. Our students are present and they will answer your questions live. Our master's level program is steeped in tradition and a sustained commitment to inclusive excellence. With that in mind, I would first like to acknowledge that the miniature museum, garden and Library and the University of Delaware sit on the unseated land, the lenny Lana PII peoples. We acknowledge the NOP and pay tribute to their past, present, and future elders. Together, we take the opportunity to thank the original caretakers for their commitment to the preservation of these lands. Their cultural heritage and traditions are major supervisors will introduce their students speakers. In doing so, they very proudly represent the many colleagues who have inspired, educated, who have assisted guided mentors. Pressure or class of 2020. Question for our speakers can be submitted via the question and answer link at the bottom of your screen. They will be posed to our students by their supervisors. And we'll do our best to stay on time. But I must tell you that we are likely to go longer because we have a number of final presentations at the end. We offer special thanks to her third year internship and summer project supervisors. Many are joining us today. And of course to the many families and treasured friends and mentors gathered around their screens. And we welcome with create excitement, the class of 2023, who officially started their three years of study on Monday. The winner to university Diller program not conservation, is a remarkable partnership established in 1974 and honoring the strength the two leading cultural and academic institutions. As such, I am most pleased to work with two exceptional colleagues and advocates for a program and for our field more broadly. Yesterday we heard remarks, welcoming remarks from Carol could do the Charles B. Montgomery Director and CEO of winter. And today will be welcome by Dean John plus go, Dean of the College of Arts and Sciences at the University of Delaware. We remain forever grateful to both Carol and John and their administrative teams for their heartfelt support, their advocacy, and their generous encouragement. And with that, I will turn the screen over to John and return at the end for our finale. Thank you so very much. Good morning everybody. And thank UW for the kind introduction. As Debbie said, my name's John Paul ASCO and I have the great honor of serving as dean of the College of Arts and Sciences, University of Delaware. I'm absolutely delighted to be here with you today to celebrate the work. Sorry, let me start with a video. I apologize. Celebrate the work, the dedication and the accomplishments of our students. The winter University of Delaware program and art conservation is an absolutely exceptional program. It's one of the true gems of the college and the university. Our outstanding faculty members are renowned scholars, worked tirelessly alongside students to advanced preservation efforts throughout the world are extraordinary. Alumni, remain deeply committed to the profession and maintain life-long connections to the university. And the program is regarded nationally and internationally as the very best in the world. We wouldn't be such an outstanding program will be able to attract the students and the faculty we have. Without the generous support of sources like the Andrew W. Mellon Foundation, the National Endowment for the Humanities, and many others. I also commend the program for its commitment to diversity within the profession and award from the Samuel H. Crest Foundation to support collaborative work with the Alliance for HPC you museums and galleries is just one example of how the literature UD program in Art Conservation is leading the way towards inclusive excellence. The strength of the academic partnership between. Jitter and the University of Delaware is unique and very, very special. Our collaboration helps train conservation professionals to examine, analyze, stabilize, and treat art and artifacts, to speak to general principles of collection care, and to have a broad academic background in science and the humanities. Indeed, our conservation and preservation is really three fields of study, at least three, as it weaves together technical knowledge in the sciences, humanistic inquiry and artistic skills, and the ability to look and to look deeply. We could not celebrate our students today without recognizing the many challenges are community has faced in the past months, I recognize how severely the pandemic has impacted students and faculty throughout our college. And that we still have much to do in terms of diversity in addressing racism. However, the work comes and conversations in our community over the past five to six months has been deeply thoughtful and inspiring and has set us on a path towards making real change and continuing to lead host pandemic. I value and fully support the work of the Department of Art Conservation, faculty, staff, students, and alumni. And it's sustained commitment to address systemic racism and to promote inclusive excellence in the field of conservation and across the cultural heritage sector. The program is focused on helping students see the relevance of their work to their own lives and communities. As well as addressing societal challenges from social justice to climate change, both locally and globally. And although we cannot be together today in person do to cope with my team. Through this event, we're able to see how students have found innovative ways to learn and share and to move forward in their educational journey. Despite the challenges of living and learning in a pandemic. Thank you for showing this perseverance, determination, and flexibility. The challenges are many, but the resolve to overcome and continue to grow and learn sets the tone for all of us to keep moving forward and to contribute in meaningful ways. So today we celebrate the achievements of the Class of 21. You've treated material objects that span the centuries from ancient Egypt in medieval times to 20th century artworks in archives and traverse the glow from the Middle East to France, the Netherlands, across the United States and beyond. Your work, your advocacy and your dedication to preserving a wide variety of world's cultural heritages across time has already demonstrated significant impact on the national and international stage. You began this incredible journey with the encouragement and support of your family, friends, faculty, and mentors. It's an honor and a privilege to be celebrating with you and with those who have supported you along the way. Today as you prepare to embark on your next journey, we entrust you to pursue this important work as dedicated, an ashen advocates for the preservation of art, artifacts and objects in a global context. And now I'm eager as I'm sure you all are, to hear from our students directly about their experiences working in important cultural sites and institutions from around the world. Thank you once again and congratulations. Good morning, everyone. And thank you, John. I'm Joyce else, donor. And it has been a pleasure and true privilege for Matt Cushman and me to work with the three painting majors of the class of 2020, Tracy, Jennifer, and Giuliana, known informally as T J squared. And of course they're finally ER and our program has been like no other which they accepted with equanimity while continuing to achieve and succeed. We had many wonderful field trips together with close looking discussions with this talented trio. We now look back on those experiences if they were on another planet. Now first is Tracy Lieu, and she is a real first. She has the first student in our program who arrived already having earned a PhD in organic chemistry, she earned this doctoral degree at Princeton. And at 730 in the morning every day she was working in conservation with Norm and molar, and then till late at night worked in the organic chemistry lab. Norman said he had never before met a young person with the advanced skills that Tracy has. And she has been at competitive ice skater and synchronized skating team member for Berkeley, Princeton, and as a Udi blue head. Her first summer was with the Fine Arts Museum of San Francisco, and she received great reviews from obese effluent per second summer with SPECT successfully in organic synthesis at the Deutsche a Birnbaum museum Research Laboratory and Germany. In her second year, she reversed and successfully replaced the wax lining, finished complicated cleaning and structural treatment of a Spanish man of sorrows. Plus a research project on the art historical depictions of this imagery. Unpacked resident oil layers from the 17th century portrait and finished challenging and painting on all three paintings with truly beautiful results and three very happy owners. Tracy has spent her third year at the Reich's Museum. One of her supervisors there has been our 1984 what Pat grad when topper who prays Tracy for picking up things so quickly for her eagerness to learn and willingness to take on happily everything she was asked to do. And I hope you'll soon hear about the glass box and operation Night Watch. Tracy has been awarded a special named fellowship to continue for another year at the Reich's. And I should add by zoom, this fall, she will be teaching the arch C6, C7 science class for our new V2 first-year students, the class of 2023. And now from Amsterdam, take it away, Tracy. Thank you. Thanks for injecting so much energy is nice to see your face. Just share my screen. Okay. So hi everybody and thank you again, Joyce for the kind introduction and for your mentorship over these last three years. I'm happy to have the opportunity to share with you some of the work I've been doing during my third year internship, which was spent at the Rx Museum in Amsterdam, The Netherlands. During my internship, I was able to learn in many ways through re housing paintings at the Reich's museum storage depot, and lately stat, preparing paintings for loans and being a fly on the wall during operation Night Watch. However, my main focus for this entire year was a single painting, John from squirrels Portrait of a Man from Harlem. Though I also completed a technical and examination and treatment on a modern painting by Dutch artist hair haircuts. I won't be talking about this today. Instead, this presentation will basically focus just on this painting for which I did the most complete technical examination of anything I've ever done in my admittedly very short career so far. All work was done under the guidance and supervision of my two main supervisors and a curricular and would pack alumna tower. The painting was brought him primarily for aesthetic treatment in preparation for an exhibition in the special exhibit focused on early another LAN dish portraiture that's now set for fall 2021. I'll start with a brief historical background on yon phone squirrel. And tell you a bit about why he's so well known in Holland and why he's, he is an important early Dutch Renaissance artist. And then in lieu of running through the various analytical techniques used to learn more about the sequential buildup of the painting and fun squirrels technique. I'll focus on three key points that after extensive technical investigation, still remain open-ended. And then we'll conclude with highlights from the treatment so far. So here I present Mr. Jonathan squirrel, born 1495, insurable and died 1562. And UX tracked the city in which he spent most of his life and which is most associated with him. Font Squirrel is known for introducing the formal pictorial language of the Italian Renaissance to the Northern Netherlands. He's a fairly well studied artist, art historian, Dr. Molly fairies, who is also the recipient of the Keck Award. So congratulations again, Joyce has dedicated her life and career to fun squirrel and his painting techniques. Scroll began painting at an early age under the encouragement of his guardian, John von Ekman, who was governor Khalid. And his natural talent lead to early, early internships. I mean, apprenticeships with Northern masters like Yaakov Cornelius font boost on and among others. A significant portion of his training also came from extensive travels which led him to all corners of Europe, ultimately ending in Italy. And there he became greatly influenced by Italian masters such as Michelangelo and Raphael. Ultimately bringing back both compositional influences and new painting techniques learned from them to Holland. An example of a compositional influence he picked up. Is placing his scene with the classic Italian landscape. And most importantly, the use of strong diagonals, which allowed him to present large groupings of people in a way that was previously not seen in the North. And on the technique side, he learned the method of layering thin glazes in order to achieve new colors. Like here, where the purple blue of Mary's cloak is achieved by layering a glaze of blue over pink. In 15-24, he returns to the Netherlands, bringing these innovative ideas from Italy with him and demand apprentice under his guidance feels the formation of a large workshop, initially in Harlem and later in boot tract, which is his most well-known workshop. And naturally he left a legacy in the form of several famous pupils, among which include Marten Von Heemskerck, whose style and execution was so similar to fund squirrel that there are often confused with each other. And the famed British court portrait painter, Antinous Moore, who is actually the one that painted this large portrait of font Squirrel in the center here. The relationship between Von Heemskerck and font Squirrel is that of a student that followed his master, but then became so good in his own right that he became a rival. Their competition means they often look to each other's, into each other's works and possibly copied elements from one another. Be that out of emulated respect or rivalry. And this competition, as you'll see later, may be irrelevant to portrait of a man from Harlem. So now with the art historical context and place a launch into some highlights from our technical investigation, which as previously mentioned, unfortunately, that left us with more questions than answers. And each of these will be addressed in turn. But before getting to that, I thought I'd just give a quick overview of how this object was made. That painting was executed on a single piece of panel that's made of Baltic OK. Dendrochronology is a scientific method that uses the spacing between tree rings to date when a tree was felt or cut down. This method requires excellent visibility of tree rings and ideally, at least 250 consecutive rings, which often requires that the would be freshly shaved down to get a clear visual of the exposed rings. There's a lot more to be said about this amazing technique which Giuliana may touch on in her presentation. But for now, suffice it to say that this technique is able to predict felling dates to within plus or minus ten year arrange. In our case, dendrochronology indicates the tree from which this panelists made was most likely cut down between 15011507. Directly above this panel, were laid down two preparatory layers. The first, a chalk ground, which you can see labeled as layer two in this cross section. And a cross section is just a tiny slice that has been excised off the panel and embedded in clear resin to allow researchers to study the layer buildup of the painting. And above this chop Ground is a lead rich isolation or priming layer. Most of these layers, both of these layers are consistent with artists techniques from the period and specifically align with the layer buildup of other fun squirrel paintings. Above these two preparatory layers was the under drawing or sketch that an artist makes before laying down Paint. The under drawing was not captured in any cross section taken. However, something that is notable and reflects von scrolls innovative technique is that he applies is under drawing above the priming layer, whereas traditionally it would have been applied above the ground layer two and then fixed with the priming layer. And then finally, above the under drawing fun squirrel lays down his layer or layers of paint. In this specific cross section seen here, there's just one layer of black colored one. But in this cross section, taken from another area of the painting, there are two layers, a lower grade and an upper red. Fun squirrels paint layers are generally thin. He uses a restricted palette, mainly composed of carbon containing blacks, iron, Earth's vermilion and lead white. Cross section analysis suggests he almost always mixed pigments together. Layers often are heterogeneous with multiple pigments, even in layers dominated by one colour. And in this slide, you also see a layer of older varnish About the paint layer labeled six, with a thin layer of something a bit sparkly on top. And this is retouching, which is labeled seven. To help visualize varnish is better. We actually use UV light to illuminate the sample. So here under UV light, furnishes fluoresce, letting us see them a lot more clearly. And with this illumination, you can also more clearly see the retouching on top. Finally, we know that there was another layer, possibly two of varnish on top of this final retouching labeled seven, but it's not depicted here. In fact, we were never able to obtain any cross section that clearly showed the upper most varnish layers. The latest research and operation Night Watch is showing that the resin that we use to embed cross-sections techno beat appears to be dissolving varnish is that we're typically applied to Reich's paintings a few decades ago. But though we are not able to visualize the stratigraphy of the upper layers of varnish using cross section analysis, we were able to use OCT to help. So OCT stands for optical coherence tomography and is a technique borrowed from the medical industry and is used to visualize transparent or semi-transparent layers in a non-destructive fashion. And the medical industry, it's often used to look at your eyes with the help of infrared light in the three hundred three hundred gets 300 nanometer range. Dr. Mitra, I'll mention was able to identify what appears to be at least two layers of varnish shown here by these red arrows. This particular scan was taken from a look from the lower right of the painting in the sitters could sleep area. With an overview now of how fun squirrel built up this painting, we can dive into the fear to, FOR unexplained things we observe on this painting. So starting with the question of the originality of the red background, technical analysis has revealed that there is a great layer underneath the red background. And in this image, you can see the great peeking out from thinner areas of the red paint. The grey layer is also visible and gaps between the red and the sitter, as shown in this white arrow. Let's also nicely captured in this particular image is the fact that the red background goes over the sitter, which is depicted, which is the dark mass. And you can see that also highlighted by this point over here. This tells us that the red layer was late in, after the great and after the sitter. Returning to the cross section that you just saw earlier, you can see the two background colors as discrete layers. Let me keep. The curious thing is that we discovered that the gray background actually doesn't extend all the way to the edges. It only goes within the boundaries of an inscribed arch that runs along the top border as shown here, with the white image on the right. And it goes to about one centimeter from the edge of the painting. So now enough comparative cross section that was taken from outside of this arch line. You clearly see that the grey layer seen on the previous slide is missing. So after extensive looking and analysis, we are able to decipher the proper order of events. So beginning with his under drawing on scroll then laid and the grey layer, which as previously stated, only goes to the arch line with bare ground between the arch line to the edge of the panel. He then applied the first version of the hat. Our analysis found that the hat had two compositional changes. And this can be easily seen in a sphere or shortwave infrared analysis, false color map, which is shown on the right. This method of analysis uses infrared light to penetrate through layers of the painting and additionally has the power to chemically map the materials present. So each color represents a different chemical composition. A very handy tool when it comes to observing compositional changes. As you can easily see, different colors on both sides of the sitter's hat. Now focus your attention on the right side of the hat in the middle image. The next thing font Squirrel did was to slightly extend the hat on this right side. And then finally, he applied the red background, which does go all the way to the edge, and very importantly is responsible for a much more significant compositional change in the hat. The hat as shortened on the left side to give what we see today. It's also important to note that font Squirrel scholar Molly fairies has noted and private communications with us that this read is unlike any scene and fun squirrels existing of font Squirrel actually typically uses much more muted colors like those seams here. Interestingly, that first gray layer is much more in line with his typical background colors. However, recall that I mentioned earlier that there was a certain rivalry between fun squirrel and his highly talented pupil, Marten Von Heemskerck. In 15-20 nine, von Heemskerck created a pair of portraits that today are regarded as one of his finest. The lady from the pair is shown here on the route. But this dates to the same year as the font Squirrel portrait. During this time the two would have been working in the same workshop. Or if Von Heemskerck had already struck out on his own, it's not wild to imagine that they look to one another. So perhaps the odd choice of red, if indeed applied by font Squirrel himself. Influenced by fun, fun, by Fontaine's care. Our closest clue at this point that's based on something tangible is the pattern of craquelure shown here in this image. It is located in a small section of the red that covers the first version of the hat. And you can see the black paint of the hat and the gaps between the cracks. So based on whether you interpret this cracking pattern as drying crackle, which is a phenomenon that occurs when paint is applied over layer that has not fully dried, which would imply that font Squirrel likely applied the red himself. Or whether you interpret these cracks as alligator ring, which is a phenomenon often associated with overpaying applied later. You could interpret the read as having been applied by phone squirrel or applied at a later date by someone else. So after extensive study and analysis, while it's clear that the red is legitimately old, THE question cannot be definitively answered about whether the red was applied by funds verbal himself. And again, it's pretty significant considering the compositional change in the hat that comes with the red. The second lingering question relates to this inscribed arch line here in red. In this cleaning tests where a layer of overpaying has been removed allowing you to more clearly see the arch underneath. At this point, we cannot tell whether the scribe line was made in the wooden support or in the ground. So far, we still have not come up with a convincing answer that covers all the bases to describe the role of this inscribed line that it served us some sort of compositional guide is debunked by the fact that both versions of the hat go over the line as you see again in this sphere false color map. We also thought that perhaps it mark the border of the frame. The frame would go up to this point, which would possibly explain why the gray background was applied only up to this line. However, this theory doesn't hold water as well for reasons that I'll explain very shortly. In summary, we still don't know its role, but it is a great segue into the third open-ended question, which relates to the relationship between this panel and it's framed. And here's a picture of the panel inside the frame. And this frame is particular because it has the special Trump Lloyd cartoon on its bottom member shown in detail on the left. This Carlino states the year 1529 and the true age, or a tata bureau of the sitter to be 46. According to curator Dr. Matthias Google, the use of the words a tata is very unique and rare. Usually inscriptions just say age and date, not true, age and date. The curators never doubted that the frame was original to the painting, which is why the painting has been dated to 15-20 nine, placing it in phone squirrels Harlem period. Dendrochronology dendrochronological analysis was also completed on the frame and confirm that the tree used to create this frame was cut down just a few years after that for the panel. However, though the wood is genuinely old, the level of craftsmanship is inconsistent with what would be expected from the 16th century. The whole frame leans left when you view it from the front, meaning that the joins are not perfectly perpendicular. And the joins themselves look a bit clunky. Moreover, the panel looks water damage. You'll soon see evidence of once we hit the treatment section. However, the frame shows no trace of similar damage to its painted layers. Fairly extensive technical analysis was also completed on the frame, including macro XOR of scanning, cross section sampling and analysis, and et cetera, much of which was mentored by test grassland are frames conservator, but they won't be mentioned in the interest of time. For this presentation in the frame section, I'm just going to stick to information that you can essentially obtain entirely from careful looking with the naked eye and a microscope. A skill that I realized is more important than any of the most fancy and latest techniques that we are fortunate to have access to here at the museum. So this slide diagrams several Later structural manipulations that were done to the frames opening. And we're viewing this on the backside. All of the edges highlighted in yellow are those that have been cut out, effectively enlarging the rebate, which is the term we use to explain the lip got the painting sits inside the frame. If you focus your attention on the circle marked e. The interesting thing here is that cutting out of the edge that connects to this corner. So yellow highlight mark d implies that the non manipulative frame would have essentially had no rebate or no lip for the frame to sit in on this left, left-hand member. And that's definitely strange if this is a 16th century frame. In short summary, there are several manipulations that were done to the frame. And as a result of these manipulations, further manipulations had to be applied to the panel, namely in the form of wooden strips that are added to both sides to fill out the painting so it'd be big enough to sit in the opening. So it just made us question if the frame always wet with the painting, why are there so many structural manipulations to boat? And returning to the role of the inscribed arched line. When the panel is placed inside the frame with the inscribe line marked here and white. You can clearly see that the frames opening doesn't match the inscribe line on the panel. Hence why I said earlier that the hypothesis that this line served as a mark to delineate the frame border is not really convincing. But that's assuming that you think that the original, that this frame is original to the panel. So you can see it's kind of a complicated circle of events with all these and unanswered questions relating to one another. So after much analysis, we still can't tell if the frame is truly original to the painting or simply a pastiche using genuinely old parts that was later fitted to the panel. But it is very significant in considering the uniqueness of the eta2 Barrow painted inscription. And more importantly, this frame is the reason that the painting his data to fun squirrels Harlem period. But despite the lingering questions, at some point, we did finally start treating. And the treatment part proved to be just as interesting and challenging as the technical analysis. Where in the technical analysis phase, I was exposed to all these new forms of analysis I had never encountered before. In treating too, I was exposed to almost entirely new things. Including cleaning using able. Ok. So the first major step in treatment was to remove the varnish and retouching, which we did using a special fabric called Avalon. Avalon is a non-woven, spun bonded fabric that is made from polyamides and polyester microfibers. That tiny, tiny size of the fibers confers an extremely high surface area to the fabric, which translates to an incredibly high pull to sink capacity. Here in the image you see Patreon noble or head of pennies conservation applying a sheet of solvent infused a VLAN during the treatment of Rembrandt's portrait of Martin sulla months. In general, everyone cleaning works like this. The fabric will, will be infused with the calculated amount of solvent. The solvent infuse fabric will be applied on top of the painting for a set amount of time. While the fabric is in contact with the painting, the varnish will be actively dissolving while getting pulled into the fibers of the fabric. The specific solvent you use, how much of it you load into the fabric, and how long you let the fabric stay in contact with the painting are all parameters that are extensively tested prior. The major advantage of using a VLAN is that the total amount of solvent and mechanical action you expose the painting to will be much less than the traditional method of cleaning with solvent saturated cotton swabs. However, the use of a VLAN requires much longer testing because the opacity of the fabric means that you cannot see what's happening in real time on the surface of the painting. And this slide just show some images from the testing process. In the end, the final conditions we settled on where to use pure acetone as our solvent loaded with 40% of the total weight that the able on could absorb in acetone and left to dwell on the painting for three minutes. Because my painting was small, relatively small. The Avalon cleaning proceeded in one go. So it was done with only one piece of fabric, custom cut to fit the shape of my painting. The result is shown here with the before on the left, after in the middle. And they used a VLAN on the right. And you can see another huge advantage of using a VLAN is that it provides an excellent visual documentation of retouching. And we did also subsequently scan this use a VLAN using macro XOR f. And here are the accompanying UV images. The fabric preparation process prior to solve an infusion is also noteworthy, but I had to cut it from his presentation due to timing. So feel free to ask about it in Q and a. Following the bulk varnish and overpaid reduction with a blank, we needed to further clean residual retouching and varnish that the Avalon did not completely pickup and that is normal modes could be remove with local traditional swab cleaning with acetone. However, we were faced with a difficult, darker red retouched along the top border as seen in this image. And this is still proving very hard to remove while keeping the red background intact. In the process, I got exposure to testing many gels, all of which were new to meet except Sant. Then. I also wanted to say that during this phase I learned a good but difficult lesson. There was an occasion where one of my cleaning tests went too far and I thin the red background. As it's really good to talk about our mistakes, I'd be happy to talk more about it than what happened in Q. And a final major step was to reverse the fils, which is material put into fill a loss, much like fillings and a teeth. Here is a detail of the lower portion of the panel after able on cleaning where you can already start to make out some forms of the fills. And this slide shows the macro extra f map of calcium. Macro XOR f is a technique that shines X-rays on a surface and is then able to read what elements are present. The data comes back in the form of maps unique to each element. Where the wider the color, the higher the concentration of that element. So this calcium map shows films that were made of a calcium rich material, which in this case is chalk. And this is a macro XOR f map of lead. The calcium and lead macro EC XOR f maps together give you a sense of the extent of loss in this painting. We essentially had a hint going into the treatment that the entire region and the red circle shown here was, was a fill. And in other words, it was likely that half the hand would be missing. This slide just documents the slow process of uncovering a small island of original that was buried under a vast expensive fill. Phil reversal for the whole painting was done under the microscope and was a very slow process because of how careful we needed to be to excavate potential original islands. Many of which we could not see even with our most advanced methods of analysis. And this is what the painting looks like with those Phil's reversed, a process that took about two months. The series shown in the previous slide is the island highlighted here with this red circle. And finally, here's a photo and raking light, which is a lighting method where surface topography is really brought out. And you can see in the sea of fill, we managed to recover many tiny islands is shown here in red. And even though these are small, they will give invaluable information for reconstructing the hand later. The treatment currently stands essentially in a strip state and my supervisor, Cohen tower will be completing this treatment in the upcoming year. Of course, in the process, there was also the shut down during which I was actually quite occupied all the way through with various activities. And I'm particularly thankful to Joyce for hosting, organizing, and bringing together a huge number of alumni in her weekly painting seminars on zoom. We ended up having 21 seminars in total that featured guest lectures from museum and private practice, recent alum's and established professionals East Coast to West with topics ranging from laser cleaning to Canvas repair to varnish removal. And finally, prior to starting at the Rx Museum, My Summer Work Project was a three months postdoctoral fellowship at the Deutsches broke down museum in Germany, where I was able to stretch my old synthetic chemistry muscles again, which I had missed. My research. They're focused on the synthesis of derivatives of MS2 a, a common varnish. And this is a separate thing from the recent development of MS. Three from Debra Lee. All-in-all isn't incredibly rewarding 15 months. And I'm very grateful to all the people from winter, the rights museum and DBM for making it possible. And finally, I just want to say a big thank you to listening. I apologize if I went a little over time. And of course, a huge congratulations to the great class of 2020. Things. Wonderful Tracy. Thinking everything. Thank you so much for that wonderful presentation. And as you say, an extreme amount of analytical techniques that you were able to do. Oh, now I can start video. Okay. Thank you. And some questions have been coming in on the Q and a, and some of our lots of blue things here. Okay. So we have a star questioner, Abby van der there has asked which types of garnishes are dissolved by the techno, the resin that you use to embed the cross sections through the words that are often found on our pink on the rice paintings from a few decades ago is Damar natural resin varnish is. So it seems to be those. And I say that only base up the hypothesis that that older layer of retouching on my panel does seem to be impacted. And though there is retouching over it, that retouching isn't present universally everywhere. So I would have anticipated that if it was somehow soluble, it would've we wouldn't have gotten such nice clean cross sections. And yeah, so the other paintings from the collection that exhibited similar phenomenon, we're all applied with. What I presume is that the general MR. natural resin varnish that has been applied in the sixties, seventies and those treatment campaigns and the museum. Okay, thank you. Now a question has come in on the gray that he used. Was his making of the gray distinctive. The degree of mixing colors can sometimes offer a fingerprint to the maker or workshop as you shared. And this is from Debora Mayer, paper conservator. And she finds your study interesting and she found looking at Grey's was one of the more revealing distinguishing features because there are so many ways of making gray. Yeah, that's a really good point. I did not look into that specifically for the panel. The gray that he used base Zafar macro XOR f analysis were as a mixture of carbon-based blacks, lead, white, and maybe a little bit of vermilion. That's hard to tell because the vermillion, it's probably coming mainly from the red layer. In terms of on the frame though regarding just the uniqueness of Grace, I do note that the grey passages, so the shadows in the car to Leno actually were made from azurite. Those are, those copper based pigments were really easy to see under the microscope. And that the curator thought was incredibly interesting. Totally unrelated, of course, to the gray background here on the panel. That's something that definitely I can talk to Gwen Moore for the continuing analysis and treatment this coming year. But yeah, I guess we haven't yet done SEM-EDX on any of the cross section. So that's definitely something to keep in mind, whether we see any pigment signature in there that would be abnormal or yeah, just interesting to follow up on. Thanks for the question. So my goodness. Q and a and chatter both filled with wonderful congratulations from superstars in the audience. Thank you. Another superstar. Bart NEW Boulder, asks, why was it decided to remove all the fills and overpaid in the hand and loves your drawings? Yeah, that's a good question. I didn't touch on. So as I started to do the Phil removal, I noticed that most of them had a layer of wax underneath. And so a lot of them like large sections, would just lift on their own. And it made us realize that if you don't touch it, it's fine. But it was kinda questionable how really structurally stable the fields where if they list, lifted so easily with just a little bit gentle agitation from the very edges. And then also there were at least three, at least three major fill campaigns. And then if you count some minor ones in the region, four to five. And it was a mix of materials from lead rich fills, chalk fills, which are water-based and then wax, some sort of colored wax. And we just thought that maybe in this special case so that for future conservation treatment, it's just easier to start with a clean slate is that's not a reason to reverse reverse everything, but it's also mainly predicated on the fact that we weren't sure how tightly adhered all the fields where because of that wax layer. And Sabrina Maloney of the march house, as it says, wonderful presentation. Did you have an X-ray of the painting available before treatment to see that amount of damage before starting? Yes. We did have an x-ray. I just didn't show it. And that was actually something that was very useful for me. I may tracings based off the X-ray as well as the lead macro x are mapped to help me figure out, as I was Phil reversing, I had a tracing based off the x-ray, which for me is dictated the losses, losses I was confident enough. And then the macro XOR f maps helped me figure out with the lead. It's it was both fill as well as retouching, which I'm sure you notice. The finger is it the lead rich component? Exactly followed outline of the finger? Yeah. Sorry. Long question to that but a long answer. But we did have an x-ray and it was very useful for making the tracings. Okay. A lot of questions about evil on so how did you feel about it? Are you going to continue to use course? You'll be at the Rice Museum next year, but doing more science. And Would it say does it? And one question says would save time to use the the the lawn versus swabs? I wouldn't say it saves time because the testing, like in my case, it took maybe a month and a half of testing. And I know for the previous in turn, it took her a really long time as well. I don't know the exact timeframe. So the advantage is definitely not efficiency. More that it's less solvent brought to the surface and in particular less mechanical action because you just lay it down and it just sucks up the varnish. And how I feel about it. I think it's really exciting. I can, I can feel the other side, which is that it's really new still relative to swab cleaning. And there is a major scary ness to not being able to follow what's happening under the microscope and you can test all you want. But sometimes you know, of course we know that not every, even within one pigment, not every part of the painting respond the same way as the area you test it. So it can be scary, but to be honest, the Reich's currently seems to be transitioning to you utilizing it as a first pass methods. So we have multiple treatments ongoing in the studio for the same special exhibit that my painting is going to be in. The forget me, not special. And they're all going through the able on treatment. And it's pretty exciting to watch because my use a vlog was exciting for me to see. It really well documents the retouching, but the the stuff that's coming off and then now able to be documented and we will file them away for future study. And just historical reference is really exciting with some of these big group portraits. And I will say that the museum is doing a lot of due diligence to make sure that the paintings are safe. And some paintings where based off your extensive technical investigation, if it's, if the layers are not deemed strong enough because there is a risk to that when you lay the able on it. If it gets too dry and as you pull it off, you could pull off the paint as well. It's a, it's a risk that you have to consider. But with paintings that would be in that category, they would not undergo label on treatment. You would do traditional swap. Okay, I'm being told we have time for just one more question and I'm going to claim that right even sorry, all these other pavement. But the Night Watch, Can you say a little something about the privilege of going into the glass box and being with the experts in working on that fabulous painting. Yeah. Yeah, sorry, I didn't talk about that so much in this presentation, but it was a huge privilege. Just the amount of specific knowledge from the scientists that Rob Arab men. And frederick mayor who specializes in X, R, D, and Francesca for the sphere, just a whole slew of people. It's really I feel like, you know, on the one hand, having my internship this year with Operation Night Watch did mean that my supervisors were spread a lot more than the whole department was spread thin. And then what this COBIT crisis, so that was difficult sometimes. But it's definitely worth it still because the just being able to be a fly on the washed during this fly on the wall, during this major event was, was very, very rewarding in terms of the educational side and then being in the glass houses also very fun. And actually saw people taking their wedding pictures in front of the glass house. So me and I think Annalise was the other person who is supervising me that day. We wound up probably in some people's wedding photos, but yeah, it's really great. Wonderful. Thank you so much Tracy. And you can see there was tremendous interest in your presentation. And now we'll have to move on and thank you, Tracy, at where now introduce Jennifer. And Jennifer. Jennifer Myers came to us with an MA in museum studies, a career in Arts Management, exhibit design and fabrication. She served as an artist's assistant for four years and is herself a talented artist. She worked for three years with Nicholas doormen at the Seattle Art Museum. And he wrote a four page letter about her skills, dedication, and work ethic. Her first summer work project was that the Western Center for Conservation and Denver. Camilla van foreign praised her hands skills, patience, and dedication. She completed all of her complicated second-year projects, cleaning and consolidating and lining an Italian landscape that look like a tray of Green Corn Flakes. When I'd arrive. Needed extensive filling consolidation, inpainting for very grateful art history professor from William and Mary. She also completed treatment on a 20th century portrait of the Giza Richter archives at the Met. And it had been rolled up in a trunk and crushed. She did a beautiful job setting down the creases, lining, filling inpainted. Also put together the much overpaid copy of a constable landscape. Per second summer work project was width of Rauschenberg Foundation and voices of Contemporary Art in New York. Last February, she helped to plan and present a study seminar of Rauschenberg black paintings. She has spent the last year with John Franco poco beanie at the Gardner Museum in Boston and his private practice. Because Jennifer was working for both the Gardner and it's marvelous paintings. In addition to John Franco's exciting private product projects, she often worked six days a week in the fall and up to seven days a week during the large mural project in the winner before the shut down. This is truly a hard working trio of bending unsurpassed. John Franco call Jennifer a dream to work with in addition to being an excellent conservator, personable, intelligent, curious, and fun, we've never finches at putting in long hours. Jennifer has next accepted a fellowship to work with Mark Lewis at the Chrysler Museum for a year. This will include a public view treatment of a very, very large painting by Thomas Cole. Take it away, Jennifer from Boston. Okay. Thank you, Joyce. Thank you so much for that wonderful introduction. It's so kind. And thank you everyone for joining us from wherever you are today. I'm presenting from Boston, Massachusetts located on unseated homelands of the mesh CPI weapon. No, it Aquino up into a bitmap and Massachusetts Tribal Nations acknowledge the history of colonialism resulting in there forced removal from this benefitting us today. And pay my respects to these communities of people past, present, and future. Show me screaming, I can't lie. This was a really unusual presentation to make and it's even stranger to get. I actually can't see any of you. I was told that it would be challenging years ago to sum up a year of experience, but who could have predicted the events of the last five months? I witnessed the health, housing, and employment struggles of those close to me, engaged and uncomfortable but long overdue conversations about inequity and racism. And certainly grapple with maintaining positivity. But ever meet football as I see, institutions commit to change and the rise of social movements such as black lives matter across the world. Today in the spirit of positive thinking, AECOM is to share projects for my last 15 months that reflect my own excitement and will be hopefully fun for you to see. Well, I can't go into all the details, but try to express my key important takeaways. The value of variety gained from experience working with an artist Foundation in a museum and in private practice. Constant collaboration to arrive at novel solutions, understand multiple perspectives and meet deadlines. And the development of flexibility and how understanding in our work's identity can impact the decision making processes. I completed my 2019 Summer Work Project in New York City, working side-by-side with my classmate in Italia Swanson spoke yesterday with someone who was a capstone to the previous years research projects, and it continued would pack collaboration with the Robert Rauschenberg Foundation, an organization focused on preserving and supporting the legacy of the American artist Robert Rauschenberg, voices and contemporary art, a non-profit addressing the production, presentation and preservation of contemporary art through its artist's talks, workshops in a peer reviewed journal, examined and research these seven paintings from the early 19 fifties when Rauschenberg career as a highly experimental and influential artist who's just beginning to advanced the foundations understanding of their collection and provide general guidelines for safe handling, storage, and display. We created and populated survey templates with detailed information gathered through close looking, meeting with allied professionals and sifting through the foundations rich archives. As Joyce mentioned, I helped planning, research, plan, and present research study day in February. One of its goals was to compile a chronology of Rauschenberg and any black paintings, Houghton collections around the world, some shown here. This was accomplished through contextually understanding their diverse materials and processes. And because I'd spent so much time getting to know key black paintings and the foundations collection over the summer, I was invited to share my findings with a group of collaborating scholars, artists, and conservators. For it, the paintings I examined were Rauschenberg white paintings, sometimes associated with conceptual art. Rauschenberg intended their surfaces or mean pristine, directing his assistance or artist friends to repaint or remake the painting over the paintings, over the years with new materials, even as their components were partially or completely replaced and as they gain slight variations resulting from different hands and materials used, they maintained a constant identity emphasized by retaining their date of 1951. This got me thinking and reminded me of a classic thought experiment. The ship of Theseus paradox. Theseus, the mythological founder of Athens, made an epic sea voyage celebrated by Athenians through repeating the ship's journey for 1000 years. As the wood planks from the ship began to decay, they were replaced one by one over the years with new pieces of wood. And eventually the shift continues. None of its original material was the still the ship of Theseus. And if not, at what point did it seem to be? There's no correct answer. But the paradox suggests that identity is not static, is malleable, and we don't often notice gradual changes allowing an identity to potentially shift drastically over a period of time. Now that Rauschenberg is no longer alive, I wondered how could treatment of a white painting be approached if it's damaged? At which points could identity be considered for reference? In 1968, when all the kings already made, after their initial, initial canvases were repurposed into other paintings. Or in the nineties when Rauschenberg sign paintings on the reverse? Or is identity collectively, collectively defined rather than each work individually? The foundation has its own views, but I use this as an opportunity to see these paintings as a case study to push myself to think about paintings in a new way. Conservators are tasked with recreating or extending the identity of objects. Finding this is not often straightforward, easily pinpointed in time, nor derived from a singular viewpoint. Without actually answering but rather generating questions, I was better prepared to understand scenarios that I would encounter over the next year. I took these thoughts with me to Boston as I split my third year between John Franco poker Benny studio and the Isabella Stewart Gardner Museum. The museum opened in 1903 to the public in a Venetian inspired building, courtyard designed to house Mrs. gardeners personally curated or collection and provide space for musical performance. Her collection is arranged in many themed rooms on three floors. And there were paintings lead heavy on European Renaissance, an early Italian. She also befriended and collected from, from contemporary American artists of our time. The new wing opened in 2012, houses a rotating gallery, musical performance space, offices, reading room, restaurant, gift shop, and of course, the conservation department. The Department was one of the first in the country and was founded by famed monuments man George Stout in 1933. Stopped promoted a scientific approach to understanding materials and treatment techniques, advancing the reputation of the Gardner Museum in the modern American conservation field. The museum is somewhat small. The department remains innovative within its own walls and fosters relationships with nearby partnering institutions to keep this legacy alive. The uniqueness of the Isabella Stewart Gardner Museum is multifaceted and conservation presence Marines prominent. As interestingly, there are more conservators, curators on staff. When Isabella passed away in 1924, she left a stipulation in her will that the galleries shouldn't ever be changed. This challenges curatorial and conservation staff to interpret and care for the collection, which I would suggest is not an assembly of individual objects, but more on installation where each component relies on the other for context. This means that there's not extensive storage, as most objects are always on display. If an object comes down for a loan or conservation treatment, such as this panel painting, John Franco and I treat it together this winter. It's not replaced by another artwork. To mean to maintain visual continuity of historic appearance and ill fitting frame, for example, could be retrofit to accommodate a painting or safely, but without altering its outward facade. At times, elements are used such as modern metal stanchions, which are obviously not part of the original layout, making it very clear that their recent editions, Mrs. gardeners wishes, are respected, but the nature of constant exhibition contributes to quicker degradation of materials. And naturally preferences or expertise or prioritize differently by changing curators, conservators, and directors. The longer that I'm here, the more that I see and appreciate the creative thinking and problem solving abilities of the staff. Chief paintings and research conservator, John Franco coca betting is my direct supervisor at the museum. And in his private practice, John Franco has decades of experience in paintings of neural conservation in the US and Canada. He continuously presents and publishes his work and research to the public and the conservation field. It was of utmost importance for me when choosing a third-year placement that I work with, a creative, engaged, and supportive mentor. And John Franco is absolutely key to the success of my third year. He selected projects from all corners of the museum, including the tissue room, the Dutch room, and Hofstetter gallery. Each An example of prioritizing specific identities and decision-making. This Italian panel painting hangs in the south facing window with the tissue room. The room will be undergoing an overall gallery restoration next year, which presents an opportunity to address condition issues of many of the works in it. Like all of the paintings in the collection I treated, I began rereading George Stout meticulously handwritten reports, which was one of my favorite parts of working at the Gartner, stout made detailed drawings and recorded as testing and techniques. Since many of the gardeners paintings were treated or restored, either at the museum or before Mrs. Gardner purchase them, and restoration materials inevitably change over time. Contemporary treatment campaigns often address prior treatments that have not aged well. We're causing issues such as we're moving this not original wouldn't cradle edition from the back of Giovanni Bellini's Christ pairing across the cradle is adhered too many points on the reverse of this panel painting, restricting its movement and causing damages the would try to return to its natural curvature. Commission portraiture of sitters and elaborate costumes executed on panel was Bartholomew's specialty, particularly in his later career. Close examination revealed some of the artists techniques, including the US secure scarier, were three-dimensional form is enhanced by shadows from strong light source. Finally, rendered details like in the embellishments of the costume in glazing as seen in this cross section, taken from the sleeve showing translucent pigments including red applied over blue to make dark purple. A cross section is made from a tiny paint sample. Both the size of a piece of ground pepper. The sample is cast in a clear plastic resin cube and then carefully polished along one side, two revealed of layers of a painting, like the layers of the cake when viewed under the microscope. This can help us identify materials and better understand the processes the artist used. A specular light image shows the uneven surface as the wood panel was heavily damaged by insects in the past, like we long before it was purchased by Mrs. Gardner and 90-100 stout filled the insect eating holes with a melted wax resin mixture, but over time, these have sunken and are now depressions and surface. The paint layer was affected by the insects also, and as well as abrasion, resulting in the loss of image details, particularly in the heck can the veil and hair. The painting also to thicken clouded restoration varnish that emphasize the insect damage you made, made viewing the painting difficult. Window where the lighting condition constantly changes. I removed this synthetic coding applied by Stout and replaced it with a more saturating, clear varnish, increasing the depth of dark colors in improving the clarity in detail. I just did the uneven surface by filling and leveling the sunken repairs and other disruptions by experimenting with a combination of techniques and materials. Here you can see details as I restored visual harmony to the hand through leveling the surface and inpainting to incorporate losses into the surrounding area. And once I was ready to address the larger areas of loss requiring image reconstruction, I consulted with Joffrey, go humanly up for view curator of the collection, not silver. Fortunately, this specific composition is found in many similar examples by b2, a male or as followers. And as I sought reference material to fill in lost information, I connected with the gardeners Abrams curator of Music, George Steel. George pointed me to curatorial research on the sheet music loot construction in playing position depicted in these paintings as they differ in each example. Even hummed for me the score that's depicted in the open songbook transcribed here. After organizing data from over 30 similar paintings, researchers compiled and rank them on their, on their quality, historical accuracy, and completeness. The garden repeating was considered to be one of the three best examples, as was this painting from the J. Paul Getty Museum in Los Angeles. I referenced the Getty Museum. It's painting as well as this historic photograph of the gardeners painting before stout had removed most of the previous restoration material in 1936, including the non-aboriginal halo. I documented residual halo retouching using photographs taken under magnification and an ultraviolet light, which can sometimes allow us to visually differentiate restoration materials and then removed it under the microscope. This curatorial preference prioritize the original artist composition rather than the pre-acquisition restoration state. This series of detail images show my reconstruction of the lost imagery inherent veil using a combination of consulting the references scene on the left, following remaining original pain's a details in order to recreate the forums. These overall photos in normal light show the treatment after, show after treatment. On a great, many people didn't know that there is an animal draped on sitters arm that's an outward visible. Remember the ship of Theseus. I've thought about this as a reconstructed the imagery and I began to see the collections identity sort, sort of vibrating and changing slowly, impossibly inconceivably over time. As individual objects in the room age, we're subjectively treated structurally or aesthetically. It's not only the fabulous collection that's entranced me, but this unusual dynamic that spawn so many interesting conversations and brought me back to my summer thinking about conceptual art. You indicating again specular light. The surface is now more level is I reduced distracting disruptions which can be seen in the tree after treatment in which birth rate. This helped improve the ability to see the painting as it's now backup and its window overlooking the courtyard. And I've been happy to see that are online collection cage image has been updated with her new look and she's even made it to Instagram as Quarantine inspired social media content. Though the museum collection is static, there's an effort to continue Mrs. gardeners legacy of supporting contemporary artists through an artist in residence program and a rotating exhibitions face. When he accepted this internship, I was not expecting the bonus of treating works by a contemporary artist. Shun ways, a New York-based choreographer, dancer, producer and painter, born and trained in China. He created a performance piece at the Gardner Museum in 2017. And as returning this winter with his new exhibition, painting and motion, is recent works are large and expressive and are often linked with dance. The artist works on unstretched and often unkind canvas using oil and acrylic paint with techniques rainy, ranging from staining to thick impasto. Many of the paintings were created flat. But for this, for this exhibit, He wanted them stretched onto supports. Communications with the artist indicated that he desired to painting c here to have the same image dimensions once they were stretched and those dimensions should be as large as possible. Paint extends to the uneven edges of the fabric. So we use twill tape to define the potential image borders which were approved by the artist through email correspondence. Along some edges, only half inch or still that says fabric was left, which we felt was the furthest that we could go, but was still not enough to grip and REP securely around stretcher. Shen Wei also wanted to go frameless, exposing these edges to the viewer and edge lining that would extend the edges of the painting with an added fabric support was suggested and accepted as a solution to accomplish these goals. We chose a linen fabric that was an almost identical visual match to the original painting. I cut districts of the fabric, remove some work fibers to create a fringe that increase the surface area for adhesive contact and soften the transition where the original painting is overlapped by the added fabric extension layer. We attach the strips to the reverse of the painting along the edges using Viva adhesive film activated by heat. What's the strips were securely attached to all four edges. We could position the canvases on a custom-made stretchers. We then secured the positioning using pushpins, replacing these as we add attention and stapled the lining fabric onto the reverse to hike a staples for deal. We hope to use the same method for more paintings up to 12 feet wide and the coming weeks as we will meet and converse with Shen Wei during an on-site consultation. This project gave me an example of working with an artist as he actively formed the identity of his own works in real time. While you change their physicality, I look forward to asking him questions concerning the nature of conceptual identity of these works as they move from flat, loose canvases hung on the wall to stretched and fixed on three-dimensional supports. Half of my weak during the third year was spent at John Franco poker venues, private practice, or I took part in some of the many treatments shown here. And it was difficult to choose which to show with you to share with you today. Clients with a studio include private owners, galleries, museums, schools and churches. And the projects are sometimes large and architectural requiring us to travel to on-site locations for examination, survey work, Proposal, Writing, and treatment. Over the summer, I also collaborated with another intern at the private studio, purine long, also, in her final year of study, a Queen's University in Canada, we were able to share ideas and work together on larger and more involved treatments. This long pink wall is located in the former ballroom and Coburn Hall at the University of Massachusetts law north of Boston near the New Hampshire border. Architecture, architectural history professor Dr. Murray Frank stumbled across historic photographs of events in the ballroom depicting the wall, and it looked quite different. She discovered that there had once been a large mural completely painted over in the 19 seventies or eighties. This past fall, the building underwent renovation, providing a limited window of time to work, but it would be on a construction site with increase safety protocols, no indoor plumbing and sharing space and equipment with the crew. The 660 square foot mural was painted in 1934, part of the Works Project era, a precursor to the new deals Works Progress Administration. They were made on canvass, likely offsite and adhere to the wall into large pieces. This site-specific public project assigned by three artists, all noon in the New England area for contributing to murals during this period. Carol Bill was a trained architect. Richard LRA painted narrative historical murals. And Albert Green was a portrait artist. Studying historic photos. We expected scenes from the local textile industry, architectural depictions in education represented through activities and sports, the arts, geography and music. We tested commercially available water-based solvent gels to remove the oil over k from the original OMP, relying on differences in their solubility as a result of ageing. Tests of solvent concentrations or dwell times appear to give promising results. But an area was noticed for some Over painted, flaked off, exposing bright saturated colors. John Franco did a small test using a piece of tape to remove some of the overcame in a discrete area with surprising success. Compared test area is cleaned chemically with sovereign gels and those mechanically with the tape, it was clear that even with potential small losses, the integrity of the color palette and brushstroke texture we were maintained using the tape method, both compromised with the solvent cleaning. The process involved applying short strips of taped to the surface. We rubbed it with our hands to conform the fabric back into the peaking and then quickly peeled it off, taking the over p with it. For decades, dust, dirt or other grime built up on the unvarnished surface before two layers of the over Pete were added. This thin deposit likely seen here in this cross section, is acting as a release for the layers of overcame adhered more tenaciously to the tape into the green layer. Summaries of over paint were not so cleanly released from the original. When they were discovered, we left some in-place and could locally go back with the tape to remove others. When it was possible to read forms and form an imagery, we would restore small areas of loss using acrylic PI. Parts of the mural were completely lost when the canvas was cutting removed, possibly the result of a damaging water event. Material was added as transom windows above the doors were removed and large patches were plastered in making sections of the wall where there once were none. In these areas, we were either not able to competently interpret the imagery because the reference material was inadequate or it never ceased or it never existed. To begin with, we approach lost compensation by presenting options to the university. They opted to have is to use a technique associated with fresco restoration. We levelled the adjacent wall plaster, adhered non-woven fabrics to provide texture and then toned using a neutral color that was chosen by the university. This decision prioritize displaying some of the history of the mirror in the room as a whole to be included in this identity. We worked as a team up on scaffolding, a crew of six with staggered schedules, getting dirty and wearing hardhats when required for ten weeks to finish right at the deadline in January when students would return from break. The restoration was documented by the local newspapers and the university filming time-lapse video. We had many visitors and interviews during the restoration, making it a great opportunity for outreach. The project was by far the largest painting and group projects that I've been a part of. And it involved one of the most outside of the box yet effective treatment methods that I've ever used. Here are a few of the after treatment images of them. Euro, I think the returning students may have had about a month or two to enjoy these before classes went online because of COBIT 90. And I'd love to end my presentation of treatments with one of my favorites that I just finished reading yesterday. Purple sheet caught my attention not only because I'm drawn into paintings by women and because of its bright colors depicting a fanciful field, a purple sheet. But the active flaking and cupping paints issues across the whole painting just couldn't be ignored. I was not able to learn much about Agnes Popper, who passed away in 1964. I stayed up late at night trying to learn scant details about this little-known artists by hunting through old periodicals and newspapers. Her works appeared here and there, but I learned a little about her as a person. She maintained an active presence in the art scenes of Cincinnati in Chicago, and was known for landscape paintings, watercolors, and drawings. Her works are reproduced and print literature. And she exhibited at the Cincinnati Art Museum, the Whitney, and the Chicago Women's Club. We don't know when she made purple sheet. The three surveying other available examples of her work. This may be a later piece from the forties or fifties. For potters paintings made it into the studio for treatment. The other three shown here to have similar thin and commercially applied failing grounds. This is resulted an active lifting and loss of the paint layer across the paintings. I was able to stabilize the paints with a thin adhesive applied into the cracks and under the lifting p, I use gentle heat to soften the brutal flakes, inactivate the adhesive, then use my fingertips to coax them flat and secure them into plates. With the paint flakes stabilized, removed the painting from a stretcher, turned it over onto a soft surface, and infuse it with additional overall applications of adhesive from the reverse. We bonded the painting to a new piece of canvas using light, vacuum, pressure, and heat to activate the adhesive in a process called lining. This helps control the cupped pate and reduces movement of the flexible painting. And since purple sheep lives in a private home, possibly with uncontrollable environmental conditions. The lining also reduces negative effects of fluctuations in temperature and humidity. With the flaking a cupping under control, I can safely remove grime from the surface, gave the painting a thin coat of varnish and stretch it back onto its original stretcher. In raking light, you can see the painting is no longer, the peat layer is no longer lifting and the surface is now in plane. And in the normal light image you can see we're filling it in painting. The losses has reintegrated the imagery. This painting was still fun to treat, and it means so much to me that it's going back to be appreciated by the artist's family. And I hope there is pleased as I am with the results. Might on-site projects this year were anything but conventional or predictable. But I was able to work on a variety of aesthetic and structural projects, take numerous different philosophical approaches to identity and experiment with new materials and techniques. I've been back to on-site work full time since the beginning of June and move forward with this treatment also from the tissue room. It's become one of my favorite projects as it has a really interesting story. But sadly, it was once rejected for conservation for being too expensive, not a good picture and having so many losses because of delays from the stay at home order and staying on at the Gardner Museum for another few weeks in order to finish this treatment and to continue work with the Shen Wei paintings. 2.5 months staying at home was quite busy, but obviously unconventional. Cuz I saw a department meeting starting to look quite different. During this time, I've finished writing a conservation blog posts for the gardener, started new imaging projects and embrace dozens of online learning opportunities with topics ranging from technical analysis, microscopy, art history, and even, and even an pardon me, a construction worksite training course. Joyce Joyce organized paintings, majors meetings full of treatment discussions, video reviews, the presentations on practical topics from guest lectures, many of whom are lumps. I used online conferencing tools like zoom to do outreach, such as presenting a webinar to emerge and conservators in Australia. And Koch presented a lecture with John Franco to a local college or class. Before the pandemic, I attended conferences and Rhode Island, Connecticut, and Portugal, visiting cultural institutions can Conservation studios and local areas. Traveling is one of my greatest passions in life. And I was so saddened to be unable to complete weeks of planned international research travel beginning in April. But I'm thankful that rescheduling some of it may be possible within the next year with many thanks to Debbie and the Samuel H. Crest Foundation for their flexibility and generosity. I took advantage of living in Massachusetts with its many local universities, cultural institutions to attend lectures, visit exhibitions and collections toward conservation tour, conservation studios and your home. Even though my larger travel plans didn't fully work out, I'm still able to visit so many places that I'd never been. I even made it to Cape Cod with my good friend Melissa. She came to help us with the mural and we took a research trip so that she could accurately reconstruct the house intro, there was depicted by Edward Hopper in a painting she treated at the Whitney. Many of my planks of wood were swapped out over the course of the last three years between the three big things, conservation Graduate School and national social justice reckoning. And the coronavirus pandemic. Plus all the others I'm not mentioning, there's a lot of personal and hopefully societal change that's happening. And, and finding ways to move farther away from chasing objectivity and acknowledge the influence that I have ever decisions and actions both within my career and outside of it. And I'm still here and ever-changing. But somehow still me. Just like so many of us and tried to make sense of our new world and sale myself new planks and all onto my next voyage. In particular today I want to thank and acknowledge my classmates. We've been through a lot certain getting a low-tech. We've been through a lot, including sad and difficult times, changing all of us collectively from when we were just little bit MOOG's three years ago. I couldn't have done it without you and your constant support. And thank you all for joining me today and to all those who supported me for so long through this journey. And most especially Madeon George for navigating us through this webinar jump Franco poker Bennett for all of his trust and encouragement in my advisory committee, especially for taking the time to get to know me and encouraged me even from afar throughout the years. Thank you again. Thank you so much, Jennifer, that is a stunning amount of treatments that you have done. And while waiting for Q and a to come in, I would like to ask, we have the class of 2023 in the audience. So let's suppose you are now teaching that class and you have this remarkable position right now of having had half arrive at work or well, not quite half and half, but three quarters at the Gardner and 1 third and private work, although that would sometimes be seven days a week. Could you talk a little bit about what you've learned about you or how you might advise them and their futures, the strengths and weaknesses of working in a mixed Museum and a wildly unpredictable private practice. My gosh, they're so different. Yes. I mean, I think whenever you gain something, you might lose something. I think that's inevitable. So in private practice, you are going to be exposed to a lot of different artists, different materials, different techniques, different situations, different stakeholders. Where in an institution you may not have quite as many of those things going on. So the depth that you can get into I'm treating, researching, researching, or treating works in a private practice is not going to be as deep. Most of the time. There might be instances where that does happen, but I think in general, you're going to look at more of a breadth than depth. Whereas in a museum on the pasta's a little bit different. And it's not based on paying the bills or, you know, keeping a business running. So it's a little bit different, a little bit slower at times, even though there might be an exhibition schedule that's that's making things go a little quicker. But I, I, I think that if you can find some way to balance things, if that's your, your interests between doing in-depth research and just getting a variety of treatment. Experience. If you can mix the two, which is what I want it to do, it was absolutely perfect. I do, I do miss out on some of that in depth analysis like in Tracy's talk. That wasn't something that I really got so into During my time because I just had a lot of other things going on that we're taking time away from an analysis perspective. Okay, thank you. We now have questions coming in and from my panel painting, superstar hippo high, She wants to know, thank you Jennifer for your wonderful presentation. After the cradle was removed, remnant barked Allah Mayo, was the was the panel stable without any auxiliary support or wasn't new one constructed in the shape of the panel change? Noticeably. Nice to see our brewer. Yes, indeed, it was so nice to meet him. I believe that that project that I I did a very small amount on, I just kind of contributed to it right at the end of the project because that was about one of my first days, definitely my first week. So I wasn't there for though the extents of the project. But I can say that the panel did change quite a bit in its curvature and the frame was adjusted to accommodate for that. It had quite a different shape and I don't believe it and required any further auxiliary support. Okay. A question. Did this audience member here correctly we're the solvent was actually water-based, so I'm sorry. No, it was the stair starch based. That is a miss misspeaking. There. Starch based. It's also water, so water soluble. Might my apologies. Okay. And we want this has to be done offline, but we have a member of the audience, ariel O'Connor, who has actually worked which John way and so will connect you to later for exchange of anecdotes on that. And then here's another question considering that Coburn 19 halted so many plans for Abroad Experience. Is there anywhere in particular you're really hoping to be able to go for a research trip. So yes, so I had a lot of research planned. My hope is that some of it will still be still be possible and some things are just scheduled like conferences that just aren't they went online, so that's not a reschedule will thing. However, I would be interested. One of my trips was to take a course in Australia from the University of Melbourne. And I'd love to be able to continue that should it be offered next year. An additionally, there were some workshops that I hope to take on with my classmates in the Netherlands. And so hopefully those will be rescheduled to so okay. I'm getting word that we have to stop questions now again, a black apologies to the people in the audience. I'll try to capture all of that boat to just went away for you. And thank you so much and congratulations. And now I should introduce Giuliana. Thank You, Jennifer. Thank you, Joyce. Okay. Coming up next and we're back to overseas. Debbie Norris and I have now known Giuliana leave for seven years. She was an undergraduate at the University of Delaware, did an honors thesis. And I can witness personally, she kept the most amazing journal I've ever seen with perfect little drawings of processes and beautiful tiny writing that looked like it was typeset. She also interned at Wooster and honor Louise Nevelson Project in New York. Before coming to the program, she was the teaching assistant for our first tipsy workshop to interest students from HBC use in the profession of conservation. Prefer summer was spent at Yale, focused especially on the paintings of Edwin Austin Abbey, in addition to a Flemish panel. In her second year, she did an amazing eyelash terror. Men's, the most vandalized painting we have ever accepted for treatment. People gasped when they saw it. A wax lined European Portrait of a Lady that had been fiercely slashed multiple times, stepped on, it looked irretrievable. She brought the painting back to life, carried out mending, filling, and inpainting. And of course the two, the three weekly tours through the research building that happened in those days were stunned. And she treated and carried out a technical study on another Flemish panel attributed to walking back near, took the painting to Cornell for dendrochronology into the met for panel painting, beautiful work on that. Per second. The summer continued her diversity work supervising CBA interns at the Smithsonian, working on a very, very large David Hockney installation. Amber occur, the head of the London public view Conservation Center, praise Giuliana as a talented, gracious leader, especially skilled with teaching and public outreach. And she led a beautiful workshop on chairman Giuliano was awarded a Fulbright to study at the mois house for her internship. Sabrina Maloney praised her talent, hand skills, research and collaboration, and Fulbright recall Giuliana right away as the coded shutdown started. However, she made it back to the Netherlands in the summer and was invited to stay some extra time. So she's there now. She was awarded a full fellowship at the Hamilton car Institute in Cambridge for this September, with that experience has been postponed a full year. So she is accepted in interim offer to work with Jennifer's former former colleagues at the Western Center for conservation in Denver. And now I turn it over to Giuliana from the Netherlands. Thank you so much for that wonderful introduction. And then I'll share my screen now. Does do I said, Good afternoon. Good morning. I'm talking to you from the Netherlands. I would like to begin by acknowledging the traditional and ancestral lands on which I spent my past year. I would also like to dedicate this presentation to Dr. Becky cast when my first conservation mentor who not only introduced me to the field, but also instilled in me a passion for cultural heritage. I'm so excited to share with you today and my past year of conservation and professional development experiences. Beginning first with the two-week workshop at the Delaware Institute for the Public Humanities. I then moved to Washington DC to begin my second summer work project at the Smithsonian American Art Museum or stay home. Spend the remainder of my year as the Fulbright American Friends of the models house injured in the Hague in the Netherlands. The Delaware Institute for the Public Humanities focuses on training scholars and how best to effectively communicate their research to a wider public audience. And this included gaining experience, writing grounds, op-eds, press releases, working on Web Design, and as you see here, even being interviewed by the press. And this experience really was the perfect way to transition to my summer at Sam, where I was preparing to conduct conservation treatment in view of the public in our galleries and behind the glass enclosed conservation studio spaces. Sam is located in the heart of Washington DC, and the building that you see here actually houses to me, it sounds both sounds collection and the National Portrait Gallery drawing over 3 million visitors a year. And what really drew me to work at this institution is their emphasis on public outreach and accessibility. In addition to housing expansive and encyclopedic collections, Sam is also home to the first fully glass enclosed conservation studio, the lunder Conservation center. Here you can see the object structural studio, and also the paintings lab. And the paintings lab continues upstairs where evils line the light-filled area on the top floor. I was so fortunate this summer to really have a variety of treatments. But today I'm going to focus on the examination and treatment of a David Hockney installation and end with the terror pair workshop. I co-lead with Chief of Conservation and my direct supervisor, Amber curve. So this summer I let and supervise a team of three preprogram. It turns on the examination and treatment of this installation titled snail space with very lights painting as performance. So what you are seeing on the screen is too large, side-by-side and vertical canvases, which span and 21 in front of votes are six interlocking four panels which to pick numerous shapes with textures and designs, unspecific shapes, hockey placed over a thousand individual wooden dowels. And the installation is complete with a nine minute changing lighting display. Hockney isn't English painter, stage designer and draftsmen. His painting seen here portrait of an artist to pool with two figures, sold for $90 million and Christie's in 2018, making it the most expensive work ever sold by a living artist at that time. But more than 20 years after this was painted, hockey style really started to shift more towards the abstract. And by 1995, Hockney referred to his own work as existing in three dimensions. So due to the popularity of Hockney as an artist and this works ability to quite literally job divorce and unfortunately bumbling its acquisition. There were many incidents where the public potentially damage the work and you can see those listed here. So as a result, all of the treatments were conducted in almost an emergency response to these. And despite the number and frequency of treatments, there was no full in-depth condition report ever filed of the painted surface. So therefore, one of the goals of the summer was to not only treat and examine the work, but really report all of the condition issues. And that involves developing a system to accurately locate them. To do this, we used a pre-existing lettering system to describe large sections of the work and which painted shapes had dowels. I then implemented a new numbering system which helps us locate condition issues on shapes that actually extended through larger sections. I also created these conditions survey forms in an effort to create a thorough get efficient system to really document these while also working with interns with varying levels of conservation experience. Teaching has always been a passion of mine and I was so fortunate to mentor these three talented preprogram students on this project. It was truly fast pace. The first day we began with photo documentation and removing them from the surface. We then started using the condition survey forms and the first one that we did altogether. And it was really important for us to really understand and get a universal look at what we were seeing. Some of these condition issues, equity cracking and thickly painted areas, as well as losses along edges of the panels. As WACC, as acrylic surfaces, sorry, can be incredibly sensitive. We began by using gentle dry cleaning methods to really help remove the bulk of grime on the surface. Some of the surfaces did exhibit wax residue, and these reduced with a small amount of odorless mineral spirits on a swab. And you may be wondering why there's lacks present. When we installed the work, there was no attachment method between the dowels and the Painted service, and they were simply placed freely on it. However, over time, as visitors interacted with surplus and often, unfortunately, these dowels house conservators thought that by applying a small number of wax on the bottom, they could temporarily fix them into place. But as our guild has developed and we now know a lot more about the materials we used. We wanted to remove this box as it can be detrimental over time. The last final days were spent in almost an assembly type format, recounting Dow's cleaning them and putting them back into place. But this project not only allow us to better understand the surface, we also gain insight on Hopkins working technique. Here you can see a large section and raking light and a small detail of visible penta mentee or were helped me actually changed his mind about the composition. And of course, as you've seen, and this was conducted in view of the public in the gallery spaces. And that gave us a wonderful opportunity to engage with diverse audiences and communicate the importance of our work and of our fields. We're so grateful to program coordinator Laura Hoffman for helping us design these two signs you see here that were posted throughout the exam, as well as creating additional programming and outreach. Towards the end of my time at Sam, I call that a tear amending workshop for for pre-programmed students into current graduate students. And this focussed on different methods of terror pair. Towards the end of the workshop, participants were able to actually take home their own kit to continue practicing. So following my second summer work project, I then flew to the Netherlands to begin my 11 month internship as the Fulbright American. The model test in turn, anything in the Netherlands, formerly the home of Johann moderates. The model tells is located next to the minima of the seat of the Dutch government. The museum opened its doors in 1822, and it truly provides an intimate and exquisite atmosphere to view some of the best Dutch 17th century paintings, including for reduces the goals. Bench, Vermeer's Girl with a Pearl Earring and you're dealt and Rembrandt's Anatomy Lesson of Dr. Nicholas tool. And as my dear was both sponsored by the model test and the University of Amsterdam, I was allowed to conduct scientific analysis and attend workshops and lectures at the auto-reactive about where Tracy actually spent per year. Each year over 2 million visitors come to see one of the top collections of Dutch and Flemish art in the world. So during my year, I was so fortunate to be mentored by my direct supervisor, Sabrina, move me, as well as Dr. Abby Bender, beer, anchor point, Josh. Together they comprise the conservation department and report directly to head of collections, Edwin Bateson, who reports to our newly appointed director, Martine ghostly. I was so fortunate to work on these three paintings during night time. I'm going to start by very briefly discussing the first two and I'm going to end with minus in-depth treatment. I preside painting by adrien van develop. My first treatment involved the aesthetic treatment and technical examination of a newly acquired painting seem only to houses still life with the little base, hazelnut and an orange. And the technical analysis is really aimed to gain a better understanding of the materials and techniques used by the artist. So one of the techniques that we used is called the macro x-ray fluorescence. And I'm just going to go into a little bit more depth as I ended up using this for all three of my treatments. So by exciting elements present on the surface with a non-destructive X-ray source, we're able to gain insight on the pigments used. So taking you back to chemistry 101, you can see an atom here. And when we actually put actuaries on the surface, it will excite an inner shell electron and at a high enough energy, it will actually be ejected from the atom, causing a higher energy electron to drop any bill. And that they can see that then gives off a characteristic fluorescence that we can then measure and also map. So these maps, as Tracy mentioned, these lighter areas or what appears white is where that element is present. So going back to the painting, we can see here that there's mercury present in the orange and in areas of the tops of the hazelnuts. Looking specifically at the blue design, we can see that that maps strongly to potassium. And in investigating the blue design more there stereo microscopy cross section, an additional organic analysis. We were able to determine that Ligia house actually is a two layer system. So already burst with a mixture of lead white, indigo, and finishing with the final touches of the most prized inexpensive pigment, ultramarine. In terms of the treatment and involve reducing a thick discolored coat of grime. And in doing so, I revealed discolored retouching, which no longer matched. After adjusting those and reifying varnish, the painting went back into the galleries to be featured as a new transition. And results of the technical analysis were shared in the moderates house publication in focus. So my second treatment was of a painting that entered the collection as inauthentic Rembrandt. This painting is part of a newly launched Project, Rembrandt question mark, jointly sponsored with the models House and The Netherlands cultural agency or air say e, which aims to re-examine, treat, and analyze paintings with questionable attributions to Rembrandt. So in addition to the very thick discolored varnish you can see on the surface. There were also several areas which had a localized grayish glaze. Pointed that out here. Again, using micro x-ray fluorescence, we were able to determine where gray glaze was located. We determined that it strongly not to calcium, suggesting now that degraded lake was used with calcium substrate. And after reducing and removing the discolored varnish, I was then able to reattach areas of operation and loss, re-renders the painting. And here you can see the overall before and after treatment image. So as Joyce mentioned, my time at the modest house was briefly interrupted unfortunately due to Coburn 19. But as Tracy and Jennifer mentioned, we are so grateful to her for organizing such a wonderful line up of incredible speakers. And we're so grateful to them for generously donated their time and their expertise. I was fortunately able to return to the multitask in June to finish my last treatment, Adria and been to Venice dancing daggers. So I mentioned every mouse and before he not only is our head of collections, he also happens to be abandoned by the expert. So it was wonderful collaborating that came on the art historical portion, as well as consulting with him on some of the treatment. This painting is small, it measures only about 14 by 30 centimeters and it entered the collection in 1875. The previously recorded conservation treatment on there is only one and it was an 1891 by a German restore based in Berlin. And this not only was an interesting painting to investigate due to the time it spent in the collection. But also learning more about the artist and how his artistic practice really transformed based on his location. Bounded. Bounded was born in 1589 in Delft, and he later enrolled in Leiden University. He then move to middle Burke and 1614 and eventually settled and Hague in 1630 until his death. Because middleware period though, is marked by these large, beautiful, colorful paintings. And his most iconic painting theme here, fishing vessels at the writing exam, tells the story of the religious divisions between the North and Protestant and the Southern Catholic. Another lens, and you can see that fundamental, It really is a storyteller. These works for highly finished, they had incredible amounts of detail. But once you move to the Hague, his science drastically shifted from these large, colorful works to smaller reside format paintings. Bond abandoned began producing work specifically for the free market. And by using fewer and cheaper pigments, they were much faster to produce. Fundamental even began to repeat compositional elements. So you can see this man here is not only present in the monetize painting, but into other paintings as well. And the speed at which fundamental produced these is also evident when we look at his drawings. So this painting seeing here at the end of misery house at the right sneeze down. Absolutely has a very wonderful kind of draftsmen like under Drawing. And what you're seeing here is an infrared reflector Graham, again, it allows us to see through those paint layers to carbon containing materials underneath. I mentioned that found abandoned as a storyteller. But that's also impart because he is a poet and a scholar as well. And his works are often characterized by having a comedic Bandura's present. So the one in the monetize that you can see here states o or poverty all around playing on the fact that these beggars are embracing and around dance together. So when I began the treatment, they were dark, distracting lines that were evident shimmering through the uppermost layers of the composition. You can see that here on the left with this kind of strange scalloped border, as well as on the right with these dark diagonal riots. Dendrochronology was conducted of the panel by Dr. Peter Klein of the University of Hamburg. And he determined that the earliest date the panel could have been painted arm was 151178, years before abandonment and was born. And this started to suggest that perhaps this was a raised panel that was already painted on by perhaps another artist. If the revenue photography, an x-ray radiography helps us start to visualize this, but we still couldn't make it out entirely. Here you see the infrared image and I've outlined areas here and the contours that don't correspond to the uppermost composition. And here you see the x radiograph. And again, these kind of strange contours. Macro X-ray fluorescence helped us better visualize this. And here you can see the calcium, copper, iron and lead. The copper map though, was particularly helpful at all of the areas you're seeing did not correspond to the uppermost part of the composition. So I then knew that if I could identify a copper containing layer and past samples, I could perhaps indicate where the underlying composition stopped and where fundamentalists began. So I started revisiting cross-sections to in 2016 by Abby band there. And here you can see the most intact one. Revisiting these, I found it really helpful to draw out the stratigraphy, but other possible. And here you can see each layer. There are additional analysis, but scanning electron microscopy, energy dispersive electron spectroscopy. I was able to identify copper present in layer four. And this technique also allows us to see elements, but on a much smaller scale. So once I was able to identify copper, I could then delineate in-sample where perhaps the underlying composition stopped and where fundamentalist began. But several questions still remains. This painting is very, very thin. And so is this thin application unique, devout Urbana? Or is it just for this specific composition? For the underlying composition? How do the materials differ from those used by founder bene? Is it possible that the composites can, could also be bad about Urbana? And anyway, to date, the pigments present to help us determine when it could have been painted. Beads. Questions really guided the remainder of my research. But at this point the motto tells painting was the only preside painting by non-dependent ever sampled for cross sectional analysis. So it's really important for me to expand my scope. I'm so grateful to on a curricular at the writing exam Tracy supervisor for allowing me to sample these two paintings, as well as conduct infrared rephotographing. And in doing so, I was also able to compare other details, including how the faces were depicted, the texture, and even look at exposed areas of the ground. But it was really taking those cross-sections that helped me confirm just how thin bond event as wet into wet paint application as here you can see a cross-section with a thick substrate. You can see the ground layer that's actually pressed into the interstices of the wood grain. And finally the topmost thin layers of paint. So although we cannot definitively say VARCHAR, we do not believe that the underlying composition is by bonding. And this is primarily due to how thick the layers are, in addition to the pigment mixtures used. So all of the cross sections I took this year and the 2016 cross sections all showed pigments that were present in the 17th century. So I wanted to find another technique that I could use to help differentiate between these layers. And I submitted the same sample for lead isotope analysis. Lead white pigment has been used by artists since antiquity. But let isotope analysis helps us determine where the lead mine was 4d and where we can actually geographically seen that. So my goal for this analysis is to determine whether the present and the underline, what position are layer two comes from the same or at the lead president in the uppermost composition or layer five. So I also treated this painting to prepare it for upcoming exhibition. And when I started closely looking at it under the surface, you can see just how upgraded the topmost layers of p bar. Here. You can also see a detail of that underlying composition really coming through to the surface. So here you can see the painting overall before treatment. I then began reducing the varnish using different. The ethanol and isooctane, I then reduced areas of over paint mechanically under the microscope. Here you can see the painting after varnish and over paint removal. I then gave the painting and isolating varnish of B 72 and finished by inpainting with dry pigments and PVA. This inpainting abortion really took the longest portion of the treatment. And as I was going, I really had to constantly assess the bounds I was achieving between pushing that composition and allowing Rhonda Venice composition to be better visually understood. Here you can just see some of the ethical considerations and questions that really guided this retouching process. It was important for me to also respect and honor the history of the panel that he painted on as well. So here you're going to see a small detail before and after treatment. And that same detail and ultraviolet induced visible fluorescence, where the dark areas correspond to areas that I've applied new retouching. Here you can see another before and after detail. I'm so grateful to my supervisors at the motto taus for really giving me such a wide range of projects that allowed me to expand upon my hands skills, as well as gain more experience conducting technical analysis. In addition to these very wonderful treatments, I also had the opportunity to present research with my classmate Dr. Tracy Lieu, applicant serving Canvas symposium at the Yale University Art Gallery. And this focus on our research regarding wax reduction using abnormal tissue. I also had the opportunity to condition, assess, and examine some of the most iconic paintings in the motto tells collection, as well as those on view for loan. I'm so grateful to the generous funding I received that allowed me to travel to numerous institutions over six different countries and conduct connoisseurship trips to see over 70 different collections. I feel so fortunate to preserve an advocate for peaking that continue to shape our global and cultural heritages. I am so thankful to all of you who have supported me along this journey. Thank you all for your attention. And I wish we could all applaud after each of these talks, thunderous applause Would have been coming from the audience at least three times so far. Thank you so much. Juliano. Let me check you and a OK. Oh, okay. That wasn't a question. I will start with the question while questions come in. Okay. So you were in two of the most famously dedicated to public outreach places, the lunder Center and the more it says with its history back to the golfing and abbeys girl with a bog. So can you talk a little bit about tweeting things with people watching do the, how do you have to prepare yourself to be interrupted? And and if you discuss your Washington experiences with their Hague experiences. Yeah. No, that's a that's a really great question. And obviously, you know, interacting with the public is such a wonderful opportunity, but it also can prevent some difficulties. At the lunder Conservation Center. Of course, this was done in view in the galleries and we did not have a laughing quote, space. It was actually really open. And I think that that really was great because. So many people were able to come up and engage with us. But of course that also slow down our treatment process. So what we ended up doing after the first couple of days, we'll have someone kind of on standby so they would be ready to field questions or would be more available while the rest of us worked and we would kind of rotate role and position. But it really was great. And because it was such a short-lived treatment, it was important for us to engage with as many people in the public as possible. Because again, as I mentioned, unfortunately, it was a lot of poor visitor interaction that led to so many treatments. So it's really important for us to kind of share what we were doing and why. In terms of my work at the mod itself, I didn't conduct any publicly treatments there. But I have to say that yes, the monetize is so committed to that. And that's one of the reasons why I chose us to do my third year internship. They're always very transparent with technical research and examination. That's evident. They have a book preserving our heritage that I really recommend anyone interested, and it covers conservation treatments from, I think 1994 to 2008. But of course, Girl with a Pearl was just examined in view of the public. And so just talking the AMI, Sabrina and Carol just about that experience. I've learned so much about how different institutions have approached working with Republic. Okay. Thank you. And we have a question from Mark New Folder, who you did when you were here. Yeah, great job. Juliana. I am curious about the potential reuse of the Van de Ven of panel, panel, possibly from another artist, if I understood correctly, especially because the battle is so small. Do we know what the function was of the painting included have been part of a cabinet or something yet so high but are able to hear from you. And that is something that I didn't think about. And I'm sure you remember the Flemish HTML that I treated during my second year also might have a cabinet, so type function. All of the edges of the panel are pebbles on the back, but they're not equal. And it's unclear whether or not it was cut down on the topmost edge. So I think that that's still kind of a question for investigation. I was really hoping to do additional imaging. We were supposed to have a woman come to do multispectral hyperspectral imaging, which might have been able to show us a bit more about what's kind of underneath for any maybe compositional clues to help indicate an artists. But I think, yeah, thinking about it in a different context in terms of a cabinet or a piece of furniture, is a really interesting avenue. Okay. Congratulations, are pouring in on both chat and the Q and a. I'll just throw out one more question and then I think we might be running out of time. But in your beautiful pictures of my house, I notice that it's sitting on a body of water. And we've of course, just had a tornado here taking down more than 30 trees. Does is that a problem? Is there any problem with flooding at tumours? I mean, he didn't have YOU were there but are you aware of any past history of that? So one of the questions that I initially posed when I The model itself. So it's actually on the whole fiber, which is kind of a body of water that's right in front of the Dutch parliament building. On the Dutch are extremely, extremely well burst in water management, as I'm sure many of you know. And so it's never an issue coming in from the bottom. If anything, there's more protection for re, so the Dutch, whether it's rather rainy and so there are protections in the museum in terms of the ceiling and layering systems that prevent water from actually entering the collection. Thank you so much, thank you to all three paintings, people, what a wonderful traded was. And now I will turn over to Joan Irving. Joyce. Good morning, everyone. My name is Joan Irving and I am senior conservator in paper conservation and affiliated of would pack associate professor. It's my pleasure to introduce to outstanding paper majors, Lindsay's Ackman and Joanna heard. So while focusing on the conservation of works of art on paper, both students pursuit minor concentrations in related disciplines. And I would like to acknowledge my colleagues, Melissa, TO DO WHO supervise Lindsay's work in Library and Archives Conservation. And Barbara Lemon, who supervise Joanna's work in the conservation of photographic materials. Thank you both for your collaborative spirit, collegiality, always, and generous mentorship for the students. So first I bring you Lindsay's Ackman. Lindsey graduated *** louder you from Purdue University in 2013 with a BA in our history, a second major in fine arts, and a minor in classical studies. Before joining would pack, she interned at the idol York Museum of American Indians and lesser art at the Indiana Historical Society and at the Indianapolis Museum of Art. During her education at woodpecker, Lindsay had rich summer experiences at the Philadelphia Museum of Art, treating Duchamp archival materials for traveling exhibition and the Smithsonian Art Museum, gaining crucial experience in modern American contemporary art. In her third year, which you will soon learn of, lindsey continued broadening her exposure of works of art on paper in a museum environment. And then the lux, with that, interning at the Art Institute of Chicago on behalf of Lindsay and our faculty. I think all of Lindsay's generous supervisor, some of whom are joining us online today. And finally, I must acknowledge Lindsay herself, who has demonstrated her considerable talents, superb had skills, curiosity and unflappable could cheer during these tumultuous times. Even fleeing to a family's basement tornado shelter, right? Laughter, delivering her very first AIC poster session in July. Let's wish Lindsay smoother sailing in Virginia beginning in September where she will bring her talents to early American works on paper at Colonial Williamsburg. Welcome Lindsey. Thank you so much John, for that wonderful introduction. Today I will be showing my presentation with you as a recording, but I'll pop back in at the end for the Q and a session. So if we can go ahead and pull up my presentation, we'll go ahead and get started. Thank you. Hi everyone. Thank you all for joining me and my classmates today for our final presentations. As we all know, none of us could have predicted the way this year has gone, or that we will be sharing our experiences in this manner. This is definitely a time of unprecedented things as we've all heard numerous times with the coronavirus, the many closures and changes to daily life and critical movements like Black Lives Matter. I want to extend my thanks and gratitude to everyone who has worked so hard to ensure that we can still share our experiences with our family, friends, and mentors. Today I will start by sharing with you some of my experiences at the Smithsonian American Art Museum during my summer internship. Then I will speak about my third year experience gained at the Art Institute of Chicago. And finally, I will briefly share a bit about some of the research I have completed over the past year. Before we begin, however, I wish to honor, recognize, and pay my respects to these indigenous tribes and their past, present, and future elders on whose unseated homelands, my experiences over the past year have taken place. I was fortunate to spend the summer prior to my third year at the Smithsonian American Art Museum working with Catherine Mayner because by Kate in paper conservation lab. The paper lab is situated within the lunder Conservation Center, an amazing group of labs featuring multiple specialties, all uniquely fully visible to the public through glass walls. As I'm sure you can imagine, working in such a space provided ample opportunities for public outreach and advocacy. I frequently stepped out to speak to weekly tours, as well as visiting undergraduates, interns and a tour a guests from the National Endowment for the Humanities. I was also lucky to get to colleague a lecture about conservation and folk art with Kate for the teacher training institute. A program that brings middle and high school teachers from all over the United States for a couple of weeks of classes and lectures. Sharing the knowledge gained will introduce the topic of conservation and preservation to their students much earlier than many even learn about the field. I'd like to share with you about one of my treatments from this internship, which was a watercolor by lowest smiley Jones. Lowest Mai Lee Jones had an incredible and varied career in her over 70 years as an act of artists in the 20th century. Not only was she a prolific artist herself, she also taught many generations of artists during her time teaching for Howard University in Washington DC. For realism to abstraction, she worked in silk screen, painting, drawing, and many other types of media. But one thing that seems to be consistent is Jones had a talent of imbuing a liveliness and vibrancy into her art. Here are just a couple of her works with showing some of the scope she had in her career. Truly impressive. This vibrancy that often seems tied to her work can be seen even in her portraits, including the watercolor I treated, titled young man in red sweater. I started by cataloguing all of the damages present on this piece, highlighted here in red, which included top and bottom corner losses and multiple scratches and scrapes. Some areas of thicker paint. We're additionally cracked, such as this area right here. I began by first making a mock-up watercolor, as this was a new type of treatment for me. I made multiple types of cuts and abrasions on the paint surface, imitating the damages found on the Jones watercolor. On these, I tested multiple types of consolidates to see which would successfully stabilized the area without visually altering the paint. 1% f yellow's in DI water diluted, 1-2-3 and ethanol turned out to be the most successful. I then moved on to trying out multiple types at inpainting materials, including powdered pigments and SLO's, watercolor and guage or opaque water color. The opaque watercolor work to the best, and I found that the inpainting was most successful. When I artificially recreated the papers texture by alternating light and dark paint. You can see it a bit closer. And then moved on to working on the actual artwork, consolidating the cracked pane and scratches, as well as adding additional coats as a barrier layer where I would be inpainting. During consolidation, I noticed a few areas we had initially believed to be scratches were actually powder your accretions on the raised texture of the paper because they were located and only one small location appeared accidental and were distracting in appearance like the scratches, we decided I should move forward with reducing them. I remove them while viewing under the stereo microscope by dabbing with a kneaded eraser I made into a fine point. Here is before treatment and after. I also did all of the inpainting while viewing to the stereo microscope, periodically bringing it out under the normal light, and also looking at it with a flashlight to try to make sure the color matching was correct. This was my favorite part of the treatment in painting was extremely fun and very satisfying. Like I mentioned before, the lunder Conservation Center was a very great place for outreach. Here I'm working on this treatment on full view of a visiting tour group led by Kate, who is there, but is mostly hidden behind the gentlemen in the foreground. The final step for this treatment was creating and applying fills to the corner losses. The watercolor paper was very textured, as you can see. I worked with dental tools through silicone release Mylar and Holly texts to impart a texture on newly toned fill paper, trying to imitate the texture of the original paper. I was really happy with this treatment overall. Here's the before treatment on the left and after treatment on the right. And this is just one of several treatments that I completed during my summer internship at Sam. And the whole experience was truly invaluable. I'll now move on to my third your internship at the Art Institute of Chicago. I was originally supervised by Antoinette ON tony Owen, who then retired in January. I then had the pleasure of being supervised by Christy DOM and was also lucky to work with Mary Broadway and Maria Cristina Rivera Ramos In the paper lab. Christine con if O'Shea and Marty Sears in paper conservation preparation. I found my internship to be very well rounded for which I am very grateful. And part of this included excellent treatment experiences. Even before the necessary closure, I managed to complete 22 treatments. I won't go over all of them, of course, but I will share it with you if you. These two engravings by Abraham boss for some of my first treatments at the Art Institute of Chicago. Abraham boss was an engraver, painter, and architect. He mastered perspective when working with mathematicians, which greatly influenced his art styles and has opinions about what defines quality art. He was a big supporter of teaching the rules of perspective to all, including artisans, rather than only academy trained fine artists. Feeling it was important to use language and terminology for teaching that was able to be widely understood by everyone. Back to these two I treated, I like to think of them as examples of print perception. Like the 2010 movie Inception, which had dreams within dreams. These works to pick printmaking techniques within prints. On the print at left, you can see a printmaker preparing a plate for etching as well as one engraving a plate. On the print to the right. A plate is being white and prepared for Inc. A plate is being printed with The Press. It was so fun to look at the details of these Prince. Here's a detail of the plate being engraved. And on the right is an image showing the high quality of the impression, but it's ink sitting raised on the paper in typical intaglio fashion. Something I really enjoyed about this project was that I was able to do beta radiography for the first time. This is a radiographic technique that uses beta particles and can be used to see watermarks because of the difference in thickness between the normal paper area and the thinner watermark. This watermark appears to be a variation of the coat of arms of France and Navarre. I was never able to find an exact match. You can see the numerous stylistic similarities with this one I found in a reference book. I was never able to officially identify the counter mark either. But to me it looks possibly like the initials PP and PM. It was a cool surprise to see that both of the print's actually had the same watermark, though they differed by a year-end date. And I know it's not terribly shocking that the two related prince could have been printed from the same set of paper. But upon closer examination, I realized and really got a kick out of the fact that the two sheets of paper we're actually made on the exact same screen. This becomes more evident when overlaying the 21 of the papers had been ever so slightly distorted. But you can even see the points of attachment where the wire pattern was attached to the screen aligned for both of them, such as here and here, among others. I serve as clean both overall in areas without media. And then for this particularly distracting dirty crease, I used a fine pointed eraser to carefully clean between the lines seen here on the left before treatment. And now after treatment. The many hinge campaigns that remained on the verso of each were also removes carefully layer by layer. The edges press print also had these adhesive stains in the upper corners. I worked on the suction flattened to reduce the stands with a very fine brush by first applying ethanol followed by acetone carefully between the lines. I worked between the inclines as much as possible because the ink has actually proven to be slightly friable. So here's the before and after. The results were pretty satisfying. And the stains were greatly reduce to the point of being nearly non-visible from the rectum. Here is the same print before treatment on the left and after treatment on the right. Subtle but worthwhile. And again, on the verso. By treatments at the Art Institute often seem to come in pairs. Here's another duo I had the opportunity to work on to satirical hand colored etchings by James Gallery. Simultaneously entertaining visually as you can see, and also great learning experiences to James Gil Ray was a characteristics from the late 18th century to early 19th Century, best known for his political and social sat tires. So much as subjects included King George the Third, Napoleon, and other leaders of the time in both government positions and the military. It was a pretty bold gentlemen. Both of them had remnants of blue paper from previous attachment to a secondary support and thick adhesive residue which would cause staining on the paper. Taking a closer look at this one, you can really see the dark stains in the margins. Both also had small notations in pencil in the bottom corners, such as you can see here, which had been deemed distracting and non informational. So curators wanted them to be removed. And the bottom right corner at each, I noticed the pencil actually had a purplish hue mixed in with its metallic sheen, which led me to believe they were actually written in copy pencil. For those of you who are not familiar with copy pencil, upon contact with moisture, it becomes bright purple. So laying a dampened sheet on something written in copy pencil will transfer some of the purple dye to the new paper. Effectively creating a copy. Since I already have the go ahead to remove the pencil from curators rather than aqueous lee testing the pencil first to confirm that it was indeed copy pencil risking potential bleeding of the dye. I just spent extra time and care removing as much of this pencil as possible before any aqueous steps would take place. I surface clean overall in areas that didn't have media. And I remove the blue secondary support remnants and as much of the adhesive residue as possible. Using Agile and a micro spatula, the gel soften the adhesive and I was able to gently scrape much of it away. Then I got much more experience on the suction flatten this time with aqueous solutions. I used a citrate solution slightly warmed, which made it more effective. This was followed by rinsing with the calcium hydroxide adjusted DI water. This stage alone just on this print with the darker stains, took around 20 hours to complete. Because as long as I was still seeing this day introduce or discoloration appear on the bottom below. I kept going. But you can see a visual difference was definitely being made. Here is the difference may by the step for the graces print with before treatment on the left and after treatment on the right. For this sprint, the standing treatment ended here as this step was sufficient. For the Muslim dresses print, however, you can see the stands were still a bit visible in the margins after this step. They were definitely greatly improved, but still more visible, but I wanted them to be. To rectify this, I locally used a 3% hydrogen peroxide solution, a conservation appropriate leach, to gradually diminished the stains further. This was followed by rinsing with DI water adjusted the calcium hydroxide. Both prints needed to be humidified and flattened as the differential moisture application along their edges had caused a slight planar distortion in the papers. But first, I tested the stability of the various colors in a humidified environment with this tiny chamber. Luckily, all were stable. So here are both prints getting their final he modification in a chamber for being flattened pressed between Holly techs and felts under a sheet of plexiglass. These treatments feel like good examples of the phrase, slow and steady wins the race. Because though some of the sages did last many hours, the end result was very satisfying and I was happy with the way the treatment turned out. Here's the recto before and after and bigger. So yet another pair I worked on are these color aqua twins by Philip air Louis debit chord, a French printmaker who lived from mid 18th century to early 19th century. Debit core was best known for his multiplayer color aqua tents. These usually included several plates for different colors, along with an additional site to overlay the black lines of the work, often done in engraving in the absence of a portrait. Here are two other works he made in the Art Institute's collection. These two prints that I treated fall within that category. Color aqua tense with multiple plates. I was able to identify at least black, orange, and blue plates layered on each other with black detailing from an etched and engraved plate. In terms of condition issues, you can see they both had a lot of orange foxing spots and just overall model discoloration. I surface clean both in areas without media. And you can see from the sponges that they also had quite a bit of surface soiling. Both of them were then water-based NAD TPA solution to address the foxing and discolouration, followed by rinsing and an adjusted DI water. Midway through the bathing process, I was able to briefly remove them from the bath, place them face down, and remove the remaining hinges and tapes from the verso edges using a micro spatula. They will then drive between felts and minor men's. We're also completed rather than doing before treatment and after treatment images side-by-side as I have been for the others. I feel that with these two treatments, you can better see the overall difference by overlaying them. So here are the before images for this sprint showing front and back. And here is the after. Overall, the bands did help to brighten the paper, reducing the staining and foxing spots for both of them. I personally find the difference most noticeable within the figures themselves who have all brightened, flicker back and forth quickly. Here's the other print with the before treatment images front and back. And after. I feel this print brightened, that evened out even more so than the first. And I'll flicker back and forth again. In addition to all the great treatment experience I got at the Art Institute, I also really appreciate all the extra opportunities that I had. Such a sharing about conservation to others during a conservation open house or multiple tour groups of other employees from all departments visited the lab. I loved the chance to see incredible exhibitions, like the Andy Warhol Show and The Grey collection exhibition, which I could have looked at for hours and hours. Here are just two of my favorites among many. I also really enjoyed attending lectures whenever I could. Hearing Ed Russia, you talk about what inspired him throughout his career was super interesting and really felt like a once in a lifetime kind of opportunity. When chances came along to work with or assist conservation science, it was always a great learning experience. Here. Maria CO Cory and I are taking calorimetry readings of the fugitive ink used in perilous night by Jasper Johns. In preparation for loaning the piece. From my time physically within the museum, ended quite a bit earlier than any of us could have anticipated. I valued chances to stay connected through additional projects when working from home, like creating the instructional art, handling PowerPoint with a team of conservators. This internship was a great and fulfilling experience and I only wish I had more time to work with these wonderful people and conservators. Working from home, other opportunities arose. I was able to focus on my research which aims to see how we affect the calcium content of paper during our aqueous treatments. This research was presented as a poster during the AIC 20-20 virtual meeting alongside a short presentation with a Q and a in July. Other study suggests that the presence of calcium within paper has positive benefits for its longevity in both strength and reduced yellowing with age. For example, this book you see here was investigated by John krill and analyzed by Matt Cushman and Jonas Karlsson. Using x-ray fluorescence spectroscopy at Winter term museum. They determined that the only significant difference between the spectra of the pages was calcium. With much higher levels of calcium in the light page compared to the dark. There are many factors to consider that may interact with each other to produce these effects. Like calcium seems to be a common component in this and other studies. I had noticed there was a lack of research with actual quantitative information on how calcium had been affected. So I sought to answer the following questions regarding aqueous bathing. How much is the inherent calcium content of the paper affected? Does the use of key leaders remove calcium from the paper? When February's bathe with calcium enriched water. Is calcium successfully incorporated into the paper substrate? I worked with the University of Delaware soil testing program to test my samples quantitatively using atomic absorption spectroscopy, but yielded results in parts per million. I design an experiment of a series of two aqueous bands to put the three sets of paper through the basic steps for each sheet. And Bob taking a control sample, then baiting the sheet in one of the six path number one solutions listed at top right. Then taking another sample from the sheet, post_path one. This was followed by dividing the remainder of the sheet by three and baiting each of those pieces within one of the back number two. Those pieces themselves were then sent as samples for testing. The results have been quite interesting. There are definitely some overarching trends, but each papers that also reacted somewhat individually, just a few of the more striking points are all bath number one solutions seen an orange removed calcium content from the paper by at least 12%, up to 92%. On average, the bath number one calcium hydroxide solution, which is the only calcium and resolution from the first round of baths, removed the second largest amount of calcium, with 47% remaining. Also, on average, 1% ammonium citrate removed the most calcium with 28% remaining. By contrast, the isotonic saturates performed more similarly to the other baths number one solutions. Calcium bicarbonate scene in yellow is the only path number two solution that consistently return calcium near to the original levels. And or in part it a reserve for all three paper sources. However, sometimes so much calcium was left behind. It could potentially affect other parameters like texture and handle. As in the case of the interleaving paper. Or you can see the calcium content was around 300 to 476% of its original. And finally, one of the most striking things to me, given how commonly as scenes, calcium hydroxide in DI water is used as the final bath during treatment. 78% of the time, or 14 of the 18 cases here. Bath number twos, calcium hydroxide rinsing solution actually reduced the calcium content of the paper. Further, this can be seen in grey. These conclusions I've drawn are still preliminary and continued study and experimentation with replicable results are necessary to be able to make truly concrete conclusions. However, I believe the trends present in my study indicate that are bathing practices do warrant further scrutiny if retaining or manipulating calcium content and paper remains a goal. I want to give tremendous thanks to all of my winter teachers, my committee by summer. And third, your mentors and supervisors and the individuals and institutions who support our program. You've made my graduate education, the wonderful and invaluable experience that it has been. And I really cannot thank you enough. Of course, I'd also like to thank my family and friends so much who've all been there for me and supported me along the way. And all of you listening today for your time and attention. Thank you, Lindsay. That was wonderful. Congratulations. And particular thanks for sharing your, you're really critical research on the calcium content, which no doubt will be very impactful in the field of operation. So as we wait for some Q and A's to come in, I have a couple of things for you. What a mono 0 eraser. And should I get one? Yes, I think you should get one. I really like using it a lot. It's a very fine white vinyl eraser that comes actually in a little casing, almost like a mechanical pencils that you can just click out little bits at a time. It can be shaved off out aside with a scalpel to make it very fine point if needed, which is what I did in the case of cleaning between each of those lines. And I found it to be very effective. So yes, I do recommend that you don't want to. Okay. And I was curious about your use of the x-ray spectrophotometer in measuring the Jasper Johns. So what are the plans and what is that protocol? Are certain loans given polarimetry before and after alone? Can you tell the audience a little about that and what that means? I'm sure, yes. So I jumped in on this project as it was already about to take place. This Jasper Johns piece was created with a very set, a very fugitive inks, which means they're extremely light sensitive. And there had been noted fading in the past. And previous people at the Art Institute have done studies with the ink and tested how quickly they fade. So in preparation for loading this piece, we really wanted to give good consideration to what the light levels would be in the gallery spaces. And in order to record the changes that may take place, we took preliminary readings using I can't recall at the time, but she was related but it had very defined locations for each of our tests. And the instrument that we then records, the accurate color at the time of recording so that we can then recorded again after comes back from loan to see how much it changed and determine future loading protocols based on that. Yeah. They do this with all loans are just sex certain like suspicious loans. My impression is that it's just with ones that we expect to have a color change. Yeah. Yeah. Great. Thanks. Well, lots of congratulations. And his eyes are coming in on a couple of questions. One from our colleague, Jessica Silverman at CCJ. What was the bathing solution number one in your research project? Oh, I'll have to actually pull up that screen for myself because I don't remember the order. I have them listed. So you're talking in general, could there actually six solutions? Are you wondering about? Just one of them there? So I'm going to tell about that first bathing step. And, and which of the bath number one solution I just recap. Was had what the overarching effects of world that bath number one solution. Yes. Yes though I set up my experiment, path number one was actually around of bands and I used six different solutions. So I had presets of paper. And of those sets, there was a sheet from each set that was based in each of these solutions saw strict high water, kept hydroxide in water and ammonium acetate solution that was made to be isotonic to the paper, as well as a sodium citrate and, and ammonium citrate that were also isotonic. And then one that was made just as a 1% solution. So it was actually hypertonic to the paper. I was aiming to see kind of how typical bathing procedures that we might use in treatment would actually impact this paper both in cleaning method, what like a citrate, um, and just the more gentle variety. Like, you know, I think a lot of people use the calcium hydroxide in DI water. So unsurprisingly, visit drapes definitely removed a significant portion of the calcium, but as did all of the papers, actually, it was not just the asians. A follow-up question from one of our colleagues is, was there one solution that removed 12 to 92% of the calcium? Know so they all kind of take up that. Yeah, that's the range. Like let me see if I can just pull up my images again for my own reference. And I'm going to, I'm sure with your These yes, stick permission is share the paper with our friends at the conservation, particularly afterwards. I'd be happy to have it be shared. Yeah, so the, the 12 to 92%, that was actually the range of impact. So the worst one removed that 92% of the calcium hydride or calcium, excuse me. And then the one that remove the least amount was the 12%. And interestingly, the one that removed the least amount that paper started out with, much greater levels of calcium in the paper to begin with, so that, that may have an impact. Okay, great, thanks. And also a big congrats from your mentor, Kate Painter at the lunder coming in. So yeah. And let me also just check what our time I'm not sure if we have we could probably get in one quickie. Can you tell us about your inpainting of the beautiful watercolor at the lunder. Could you feel the need for isolating layer or will you able just to discretely use a bit of watercolor in the spots? Sure. This discussion that Kate and I definitely had at length and what to use as a consultant, as well as a barrier layer. And I ended up using the same same consolidate, the one he was in, the mixture that was used in multiple coats along the edges of the scratches to ensure that they had been stabilized. But I did do an additional coat just on the areas of bare paper where I was intending to inpaint makes perfect sense to list. It. Did double duty consolidate and by isolating layer. Thank you. Well, thank you Lindsay so much for that wonderful presentation. Big congratulations. And and wishing you all the best at Colonial Williamsburg. And we do have time for a five-minute break or so, returning at 1135 for our next speaker. So we'll see you all back in 35. Thank you, John. Thank you. Right. Okay. Right. Okay. Welcome back everyone. And now I have the pleasure of introducing Lindsay's classmate and my fellow Philadelphia residue. Joanna heard. Joanna graduated clarity from Boston University in 2012 with a BA in Art History and a minor in visual arts. For preprogram experience included assisting textile conservator, Virginia Wayland and a two-year project to treat and install, get this George Washington's feel to it for the Museum of the American Revolution. A big hit with the admissions committee. Prior to what PAC, Joanna also worked as a conservation technician at the Philadelphia Museum of Art, a place she would return to in her third year. And she'll tell you more about that. Join us what years for summer internships into highly innovative, collaborative settings. First, native New England, where she spent her first summer at high coverage Weissman Preservation Center, and a second summer at the Conservation Center for Art and Historic Artifacts, the Regional Conservation Laboratory located in Philadelphia. In testimony to Joanna's skill, immense creativity and passion for pH and research, Joanna has been enthusiastically welcomed back again and again to institutions where she has previously interned and volunteered. In her third year, Joanna opted for two such returns, spending the first of her third year at the Philadelphia Museum of Art and next at the American Philosophical Society. On behalf of Juliana and the whatev, what PAC faculty. I thank you, her superb supervisors for crafting such a rich and varied set of treatment and experiences which have helped launch her into part-time postgraduate fellowships, also, encore performances. And all of this in these very challenging COBIT time was which have impacted the prospects for our students. So beginning it in September, she will share her time at the Conservation Center for Art and Historic, an historic artifacts. And as a post-graduate Winter Tour fellow, returning to the Paper Conservation Laboratory here at the Winter Tour museum, garden and library. Welcome, Joanna. Thank you so much for such a kind introduction dome. I really wish I could be sharing this with everyone in person, but due to the virtual format, I've opted for a pre-recording so that there's better streaming quality. So without further ado, I'm going to hand this over to our tech wizard for the week, dredge Watson. And I'll see you afterwards. Hello everyone. I'm presenting today from just outside of Philadelphia, which is part of the unseated lands of millennial unhappy people. I would like to acknowledge the lineal anoth, a community and pay respect to their past, current, and future elders. Link to their website can be found in the resource list shared at the end of the talk. This is not the talk I envision giving when I started this graduate program or even when I started this year. It is a talk that I am happy to be sharing with everyone here. Thank you so much for joining me. I hope to share my third-year experiences by focusing on what I have learned, the values I intend to carry with me moving forward. As you've seen over the last few days, my class is covered and impressive distance when it comes to internship locale. Meanwhile, I covered a solid several mile radius from I3 internship sites. I spent the summer of 2019 at the Conservation Center for Art and Historic Artifacts are CCJ, which is just about two miles from my second internship at the Philadelphia Museum of Art for PMMA. The PMA is only about three miles from my final internship site, the American Philosophical Society, or APS. The APS is about 20 miles from my home, just outside of Philly, which is fortunate since this has been my internship location for the last few months. Philadelphia is not only my home, but also home to some incredible paper conservation labs. And I unfortunately I had the opportunity to explore three of them. You're going to present my experiences in reverse order, starting with the APS. Since my last internship has greatly and burned my conservation Outlook. Two weeks into my internship at the APS, the coronavirus initiated a widespread shelter in place in the US. The remainder of my internship was spent working from home. Despite the many negatives of this situation, I didn't enjoy being able to bring my pets to work for the first time. Most of my pictures from the duration of my internship at the APS reflect this as you can see here. And yet, the love any of the photos does not reflect how transformative the internship was for me. The personal and professional growth over the last few months have coloured my perspectives on just about everything. I started my lockdown internship, continuing my research interests. Many who know me well know how passionate I am about pH and conductivity as they relate to conservation. Working from Rome was an ideal time for catching up on readings and tangential investigations. The information gathered was used to update my talk called Fear not for a special Kuwait addition, which I shared with conservators on both coasts, as well as the buffalo program in art conservation. They talked, discussed meter using Care, water quality, and measurement suggestions. After the murder of George Floyd had began focusing on educating myself on racial justice. I attended webinars, read books and articles, and talk with family and friends and colleagues about systemic racism and inherent bias. I've learned a lot through this process, including the fact that I will always have more work to do and I need to be comfortable with being uncomfortable. I've always believed that what we do is significant because we are preserving cultural heritage for future generations to learn from an experience. I now realized conservation needs to be significant because it preserves heritage for the future and helps make it relevant to current generations. And can not achieve the latter by staying in the comfort of my ignorance. I am indebted to a list too long to enumerate the patient and compassionate people who have helped me reach this point. I am particularly grateful for the wedded to a conservation program and material culture program Classes of 202020212022 for our zoom of requirements meetings to discuss systemic racism in our fields and institutions. The passion, compassion, and sincerity of this group has repeatedly helped motivate me while also providing a rare source of hope. Given the national shockwave caused by George Floyd's death, that amplified anti-racist efforts and awareness, as well as the impact this has had on my own perspectives. I could not bring myself to reflect on my year through any other lens. Specifically, I had been looking back and asking myself to consider non Euro-centric perspectives I might have missed. How other perspectives my influence treatment and vice versa. And have my own inherent biases have influenced my perspective. We as conservators are often considering whether intervention is of benefit to the life of the object. I want to make sure I'm aware of how Intervention impacts the communities and cultures to which it belongs as well. I also want to be aware of how my intervention could impact future cultural context. Since context is not a static property. These are all considerations promoted by values-based examination, which is one of three conservation and perspectives discussed in modern conservation ethics. Traditionally, conservation has operated under the materials based outlook which prioritizes physical condition above all else. Values-based conservation asserts that an object should be assessed based on community value and needs in addition to objective materiality. Lastly, there is a People's based perspective that focuses on community needs. It's an awareness of all three is one of the ways I hope to be more inclusive and my treatment approaches, being explicit with the values I find to be implicit helps me to understand the inherent biases I'm operating under, as well as making it easier for future interveners in custodians to understand my decision-making process. Value-based treatment also provides space for many different perspectives and opinions. I had been introduced to this concept during my second year in the program, but it wasn't until my APS internship that I began to understand how values-based conservation is tied to diversity and inherent bias. I hope to share my expanded views with you by looking at other two internships of the year. The PMA has held a special place for me for many years. It was the first face an artwork took my breath away and it was my last internship before getting into grad school. Returning with a greater understanding and a greater skills that has been a goal of mine since. There was also there that I was introduced to the works of violet Oakley. By Oakley is known for being the first female muralist and the US, and particularly for the murals for the Pennsylvania State Capitol. She was also known for integrating her progressive views, such as religious tolerance rates. Jerry works through cleverly subversive allegory. She's an artist I greatly admire and a person with whom I would happily raised a glass of bullying has become a recurring character and my conservation career so far. The first experience was in 2017 with my biggest preprogram paper treatment featuring biologically sketch for the heavenly host murals, which you see here. I encountered here again last summer and once more when I returned to the PMA this fall, the museum had acquired three preparatory sketches for Oatley is 17 but tall life of Moses altarpiece. Fleisher Art Memorial. The final work is specifically a veritas or a vertical panel behind an alter. The two drawings on the left are about 3.5 feet long on tracing paper. The one on the right is about six and a happy long on brown MOOC paper. And there's my focus for today. With their trailblazing career as a female painter, it is easy to appreciate from a feminist perspective. In fact, I was so comfortable with this perspective, but I completely miss some key elements. Can choose. There are a lot of possible contexts. For starters. The piece was commissioned by Samuel Fleischer, a prominent Jewish Philadelphian. To honor his mother, had to be housed in the Episcopal Church. He renovated into a museum with a public art school. He started quite sure, admired Oakley's rendition of Moses carving the Ten Commandments, and requested a similar theme for this piece. The task then fell to Oakley to, in her own words, create an Italian ask narratives for our Romanesque church, preserving the Egyptian flavor and symmetry without making the decoration conventionally Egyptian. The layout of the altarpiece, his comments or 13th century Christian iconography, but was excerpts from the exit is below the paintings written in English in the Hebrew format from right to left. She research Egyptian motifs and figures to properly portrayed her scenes and used a color palette informed by Egyptomania, following the uncovering of Tune common student. Example of the color palette of Egyptomania is shown here with a breastplate from two homes to the central scene itself depicts the Egyptian princess rescuing baby Moses. This not only modifies Madonna iconography, but also flips the modern white Savior true, with a brown woman rescuing a white baby. I'm not sure how common this narrative was in the 19 twenties, but given the rabbit hole, I fell down trying to contextualize this piece. I can imagine it being a rich avenue of study. Since I only became aware of all of these different contexts after I finish the treatment. I don't know for certain if they would have altered my treatment approach. Fortunately, in this case, I do not think that they would have. And these are the types of questions I will prioritize in the future. A different consideration I had during this treatment with sustainability. Many in our field are actively pursuing alternatives are wasteful or harmful practices, both for human safety and environmental preservation. The sketch actuated has a number of losses ranging from several millimeters to several inches long. The total material needed for filling was still small. But the tricky part here is that most of the losses were in areas without media. Paper has a subtle shifts in tone and texture that are hard to define but are easily picked up by the eye. Providing some continuation of design in a loss that was a helpful way of distracting from discrepancies between the original paper in the filmed material. Without that option available, I needed a wide variety of terms and thicknesses for my bills, since there's about six feet of paper, which means about six feet of variances. Turning paper can be a time and resource intensive process, and it takes a while to reach the desired outcome. By using the PMAs, existing scraps of lightweight toned paper, as well as one or two sheets. I turned myself. I could create customized fails by layering the tissues over base piece of brown paper. Even altering the layering order has a noticeable effect. Once I had a few layering variations that seemed like they might work right adhered small strips of the tissues to the base layer. I use this like a swatch for identifying the best layering combination for each spot. For larger losses, I would repeat the process for the appropriate size and shape. For the smaller losses I could make fills directly from launches. This technique won't be much of a timesaver without an existing stash of supplies. But once you have that, I think it can be an effective use of time and resources. The layering technique also helped to customize the edge profile of the bills without having to shampoo above all the edges. So this is especially helpful for de-emphasizing the chair edges. I can have the topmost layer thin tissue overlap the original material, which bridge the loss of Mathare. The tissue is thin enough to have negligible impact on the original materials thickness while having enough opacity to minimize and he gets the bill on the left. I could hide my fellow somewhat by continuing the line that was running through it. This was not an option I had for the largest cell in the bottom right corner. I did not want to assume how the lines of the image terminated, which meant there's a hard stop between the original paper and my fill material. Wearing the fill again help to smooth, smooth the transition and make the cell disappear. Before treatment. The distortions and losses were structurally and visually concerning. Aka treatment, the drawing was flatter, more stable and with a more complete appearance. Despite my initial lack of contextual awareness, I'm happy knowing that the object can more safely be handled and that viewers can more easily go guess on the image rather than on the damage. During my time at the PMA, I also had an opportunity to treat this page from a book of watercolors by some foie gras was a Chinese painter during the Qing dynasty and it was popular in the 19th century for his works made for Western markets. Yes, particularly noun phrase paintings on pink paper depicting scenes from trade, such as the one you see here, which demonstrates a step and T cultivation. There are several stories that could be told here that watercolor falls into the context of 19th century Chinese artworks and trade, as well as 19th century Western interests in commerce. Within the East Asian context, it could be reasonably argued that treatment following East Asian conservation techniques would be most appropriate. Conversely, it could be argued that the object was made and marketed to be of value to Western. And so Western conservation approach is aligned with values-based treatment. Both are valid perspectives as are others that I'm sure I've missed. And I do not think any of them are on. The fact that the water colors on paper is also significant is that tissue and vascular plants with paper comes from the fifth of tree cultivars specific to East Asia. The material is inherently East Asian. The same fact makes it a popular exotic souvenir among foreigners. It's a peculiar material to work with because it does not have the fibrous structure of true paper. The pith is isolated from the plant, as you see on the right, and then cut and then spirals to produce ribbons of flat tissue. The resulting sheet has the sheered cellular structure from replan the hexagonal cells make it quite flexible and forgiving the strain and applied and playing with the paper, but very fragile to strain Ei perpendicular or an angle to the paper. The cellular structure of his paper also has an interesting effect on media applied to it. It's a quick warning, a trip, a phobia triggered. Depending on the viscosity of the medium apply. Paint can either received until the cellular structure or sit on top of it. Opacity can also be manipulated by applying p to the back of the sheet of paper is semi translucent and an image five to the back will be seen as soft details on the next slide. The springiness other material is something I was quite grateful for during treatment. Oftentimes with paper mending, it can be difficult to line up edges of the chair due to paper distortions, straight fibers, or the rigidity of surrounding areas. With Piff paper, the cellular structure holds the Chair ends in place, but they open cells also provide a fair amount of give. Working under magnification, I could gently push the chair edges together. And the cells will try to find their own way back together. They really did feel like mending a sponge that was filed. The thick layers of paint along the chair would be notice we separated a good contact was not I'm sure it didn't treatment at reinforce the chair on the back with extremely thin Japanese tissue pre-coded with Solomon based adhesive side was not introducing moisture to water-loving cells and water-soluble Mia. The before photo is satisfyingly drastic as is I think the end result and I am satisfied with the improvement. But there is also an issue of the final housing for the peace. The fact that the page is part of a souvenir album is something we try to maintain for display as well. Each page is intended to be displayed individually on rotation in the East Asian galleries. The original album pages are of a low-quality acetic paper. So we did not want to return the Piff paper, the album structure. Instead, the page was manage a rag mat board with replica blue trim around the border of the painting. Replica trim was made with toned Japanese tissue to replace the acidic read old original and was secured to the map or it rather than paper. We kept the same margins between the painting and the border. Many of these decisions were made to be consistent with previous treatments or pages from the same album. And I greatly appreciate the efforts made by others to be cognizant of the album significance. I'm ending my ear and reflection with CCJ, which is coincidentally where I will be starting my first year post grad school. Somebody at the Center has a lot of significance for me. In a blog post for you, these Art Conservation Department expanded on how it was my summer firsts, including my first fight, a treatment for iron gall ink, which you see here. The first that I kept coming back to you in preparing for this talk was my introduction to the Km AGI workshop. That come on the workshop as a group of African American photographers that banded together in the 19 sixties to promote and support each other's work in a way that was denied to them by establish working groups. The Word come Monday comes from the Kenyan language cuckoo you, and means a group of people acting together. The workshop is still active today, include several dozen photographers. The object I treated last summer it was for the Virginia Museum of Fine Arts exhibition called Working Together Lewis paper in the commodity workshop, which is still on virtual display. And I highly recommend the link will be available at the end of the slideshow. The object is an accordion style album constructed by Anthony Barbosa. Comment among a co-founder and renowned portrait that harder grade. You took portraits of his fellow committee members and then ask them each to submit 14 prince of one of their own artworks. She made 14 of these accordion albums. The pages consist of the artist's portrait taken by Barbosa with work by that artist adjacent to it. The assemble albums were gifted to Barbosa colleagues for Christmas. There are a lot of things I love about this piece and a number of different contexts in which I holds value was first enamored of this piece because it brought back memories and making accordion scrapbooks and collages coming up. I love the idea of elevating something like an accordion book to simultaneously be a work of art. Not forget, in a collaboration to celebrate each other's talents. If I bows, I photograph the members and the members sweated out a wide range of moments from the lives of African Americans. The album and forums on the collective, but also reflects what the artist wanted to say about life at that moment. The treatment for this object was minimum. But before we could come up with a full treatment plan, we had to open up the album to map out the damages and get an understanding of how the object leaves when fully opens. The album is about 11 feet long, went opened, and as you can see, even left, it took us three tables to be able to view it in full. My treatment focused on surface cleaning to reduce crime with an occasional spots inactive mold. I also reinforced lifting or damaged joins within Japanese tissue, can in-between the photographic papers support and the Board it was mounted to. I did this. So only the pressure sensitive tape initially used to assemble the album would be visible. In retrospect, I think this approach is still sympathetic to the context of the album. There's minimal difference between the before treatment shown here and the after treatment, which was the desired goal. After the opening of the show in January, which included some of the collectives, founding members. You were told that the album installed easily and was a highlight of the show. I really enjoyed the opportunity to learn about this influential group and was particularly caught by a quote by Lewis Draper. He said in the area of human relationships, political and social interactions and the spiritual world, a cure imagery. The needs are basically the same. That being the establishment of contact with self, it is the key, the source from which all messages flow. We speak of our lives as only became the only way to learn about another person's or another group of people's perspectives is to listen. I was considering this when I was reflecting on my ear for this talk. I knew the stories, I heard it. The object treatment were largely skewed towards white men, but seeing the percentages really drove home for me. Of the almost 30 works I actively treated this year, only one was by a black artist into whereby Brown Argus eight works or by female artists, but seven of them are by the same artist, meaning there were only two women represented. This is not intended to be a conduit condemnation of any person or institution. This is a metric I wanted to see for myself. And it's something I aim to continue tracking theorem and career. Reflecting on my ear in this way, he made two points very clear to me. The stories, including the diversity of them. What may cultural heritage so significant? And I want to help. There are so many stories that had been neglected and Barry, being aware of the context in which each object lives, helps me be able to understand how those connections impact others. Cultural heritage as a part of socializing the practice that introduces us to other perspectives as custodians of cultural heritage, I recognize that conservators play an important role in how these stories are preserved, valued, and shared is important to me in concluding my graduate education to say these things for myself because these are the values I will maintain going forward. And I hope they resonate for you as well. As I mentioned earlier, here is the resource list of links mentioned in my talk, which you are welcome to screen capture. But please also feel free to email me for more information. Thank you so much for your time and for the support and assistance from all of my conservation of biological and Joe them families. Get the satellites. You can see how if thinking is. And I am happy to answer any questions now. Thank you. Joana. That was wonderful and congratulations and thank you in particular for your thoughtful discussion of the context of these works and the transformation that you've been undergoing. And I look forward to continuing that work for you and I look forward to having you as my partner at Winter Tour as we continue to find those links between the work that we do and social justice. So I'm looking forward to that meeting. We have some Q and a is coming in, so I will go right to those. So again, folks are impacted by your comments. Joanna. And So thank you for taking the having the courage to include that in your, in your talk. So from our alum, Emily ferric for the layered fills, What adhesive did you use to attach the layers together and to this impact with flexibility of the fill? It's a great question and that's something that I had thought about and I did test a couple, he says before I really got going. And because the pieces so big and any manipulation does cause some flecks of the paper. I did want something that has more flexibility, like cliffs LG, which is what I ended up using research-based with little too brittle and also made the fills look darker than I wanted. Kleos LG was kind of a nice balance between a little bit of flexibility and also not altering the tone of the bill. Yeah, yeah, great. Humble. It was n your graphic was beautiful. So thanks for sharing that. How much, again, back to the fields. How much variance is there in the number of layers required for the layered fills? Fortunately, it was actually pretty minimal altered between 23 layers of tissue. So the thickness of the paper seemed to stay pretty consistent. It was more about the tongue that changed. And what was your bottom layer since we're on that topic? Western? Yeah. It was just a Western Brown wove paper that was via whose handmade. So we knew that the materials used to make it where. Yeah. But it was Western. Yeah. So smart because it's the opacity often that is the kind of giveaway and problem with these papers. So yeah, excellent. While we're waiting for some more questions to come in, I wanted to go back to the pith paper. I've never done it. So how would you mechanically handle that spongy surface, you know, inquiries to kind of gently tapping our men's into place, re asked for a gentle pound. How did you actually mechanically do that? Well, when I was reinforcing the terror, that was more of an issue than when I was just applying adhesive to the edge because on the material just needed to be pushed together and it really did all the work for me. Okay. It just does it yet. But then for applying amend, I did work a little wetter than I would've normally. And again, I only felt comfortable with that because I was not using water. Using water on paper is known to be troubling. Big problem. Big problem. So because I was using alcohol as my solvent, I could wet up the bending tissue a little bit more than I would normally and that was enough to increase contact. Thanks for that. It looks like we are just about out of time. I'm going to just lob One more question to you. Which is again about the pith paper. Can you use transmitted light? Or is it too opaque for working on a light table to do that alignment? It's actually too transparent. It's harder to see what you're working with when you're doing transmitted light, because all of that light comes through. And then it's almost impossible to see what you are working in a box. The paper from Debora Mayer, your do your colleague. Supervisor at the Weisman. Thank you for sharing your personal discovery and how did you wait it? Because again, it so so delicate. I used a really thick water and then just one of the it's like the curtain weights. So it's maybe a couple of grams of weight. Grist over several inch radius. So it was very minimal weight and it was cushioned a lot. And that seemed to be enough to get contact without swish Amie? Yeah. Okay. As we wind up a request for your bibliography screen again for folks to screenshot. Yeah. Give me 1 second. I'm also happy to share that with anyone via email. Okay. We can also do that. So I can track some of these for you of if that's not super easy to pull back up. So once again, Joanna, a rich talk full of nuance and context for us to, to take in. I'm thank you for going there. And and I think we will now turn this over to to Debbie for our thanks. There's your slide. My back was there. Alright, fantastic. So folks, feel free to email me or Joanna and I can get this information to you. And also there's interest on fear not Joanna. So we can we can make those links available to to to our colleagues. I think so. Congrats. And I think that closes the Fabulous thanks to all of our speakers this morning. Such beautiful talks, such thoughtful considerations of your challenging year. And thanks to all the mentors who have, who have made you have made this possible. I'm going to stop video and turn this over to Debbie. I understand there is a perhaps grand finale, so so I'm going to sign off. Thanks again. Thank you, John. Thanks to all of our speakers. There's a grandson now. We have a couple of remarks first, so I'm going to turn this quickly over to our colleagues and leaders in this society when a TAR fellows learn Kaplan and an enrichment. Oh, good afternoon. At least it's afternoon where I am just barely in Ohio. My name is Andrew enrichment and I'm a 2003 graduate of the winter to program an early American culture. I have the honor of serving as the president of the Society of winter to Fellows. And thus, I have the happy responsibility of congratulating you on your fantastic work, especially all that 2020 has thrown at you on your graduation. And I welcome you to the society of winter to Fellows. This society was established in 1974, so in the same year as the conservation program. And since then our mission has been to foster professional development, scholarship and camaraderie among alumni and current fellows and to support winter tours. Longstanding commitment to higher education. Today our alumni body numbers more than 900 talented individuals working across the nation and throughout the world. From historic house museum curators to art museum concert conservators, to those working in the antiques and our trade and in private practice. Our alumni work in an incredibly diverse range of jobs and our network gives you access to all of that experience. That when your tour network has certainly proven invaluable professional tool to me over the past 15 plus years. And these days I also derive great satisfaction from getting to know younger alumni like you and helping you by offering advice, support, introductions. Anything else that I can do? Of course, beyond the professional at work, the society wanted to Fellows offers a range of events and programs and opportunities for engagement. Even this year in the midst of this global pandemic, the society has hosted virtual programs on events focusing, and events focusing on Alumni Research, conservation topics. And this summer we introduced a program series on issues of diversity, equity, and inclusion. And we also offer grants for both students and alumni, both research and professional development grants. We offer those in two cycles every year and we encourage you to look, visit our website. So WWF.org and look into those. George, as graduates of the winter University of Delaware program and our conservation, you are now members of a diverse, dynamic and supportive organization of passionate professionals on behalf of the Board of Directors and the membership with the society one or two fellows. I am pleased to welcome you and I very, very much hope that you will engage with the society, seek out AS alumni, and we are able share your experience with those that follow you. So that's all I will say and I will handed over to my friend and fellow director, Laura Kaplan, who will make a short presentation. Hi everyone. My name is far Kaplan and I'm an objects conservator at Winter Tour and a professor in the program. I'm also woodpecker had myself and I'm on the board of society venture toward fellows, as Andrew mentioned, SIMD, therefore, delighted to add my own heartfelt congratulations on the societies behalf to you are 20-20 grads. And also to offer you a free year of society membership. This gives you access to events and webinars like Andrew was describing, as well as grant opportunities, mentorship, and our own online directory, all of which you can learn more about and the Society's website at us. So WWF.org Membership is also a great way to stay connected to what really is rich and vibrant community. So if you'll excuse the shameless plug, do consider renewing when your first year expires. I am also very happy to present each of you with your own signature. So WWF tote bag, making your way to you, as we speak. This year has had its challenges for sure. We've all felt sacked out at times. But you handled it beautifully. And even without canvassing everyone. I know we are all totally confident that you will. Carry on with great success, pocketing old memories and bagging new ones. Okay, before I save it, I just want to say that we are bursting at the seams with pride for all you have accomplished. We can barely contain ourselves. You can now truly say that conservation is your bag. And we at WWF are here to support that. So congratulations again and keep in touch. Hello everyone. My name is Katie Shulman and I'll be presenting the class gift on behalf of the class of 2023. We wish we could be there to meet you in person and celebrate the graduates, but had been so inspired by your presentations and look forward to crossing paths with you in the future. When asked to create a get fair class, we tossed around many ideas, but nothing felt quite right. Ultimately, we recognize that this is not a normal year to be graduating. And we thought that the gift-giving tradition should evolve to be more fitting for the historical moment we are currently experiencing. In lieu of a tangible gift, the class of 2023, he chose to make a donation in honor of the class of 2022 Museum Hue, an organization chosen by the graduates. Museum Hue is an arts platform for people of color, which crafts and welcoming creative environment that encourages exploration, investigation, collaboration, imagination, and creation. In museums throughout major cities, countrysides, and everywhere in between. We respect what packs longstanding gift-giving tradition and hope that donating to a charitable cause in honor of those graduating can become a newfound tradition sparked by desire to commit to long-term social justice changed within the field of art conservation. In addition to donations from our class, we asked faculty, staff and alumni if they wish to join us in supporting Museum Hue and celebrating our class their contributions. As of this morning, $1083 have been donated to Museum Hue in honor of your outstanding class. Thank you to all who contributed. Congratulations to the Class of 2020 on all of your accomplishments. We look forward to watching you make your unique an indelible mark on the field. And Beth, thank you so much, Katie, that didn't truly means so much. And I hope, you know, I just want to welcome your class and I hope you can all reach out to us that you ever mean anything. So asthma went into her class of 2020 class later, I just wanted to end briefly saying here, thank you's Some of us have mentioned in these past two days that this this has truly been a difficult year. We certainly have faced a lot of lost during our graduate journey. But we want to express our greatest Thanks to all of our supervisors for their constant guidance and support. I truly believe that what makes would pack so unique is our sense of community that is not only present during our graduate career, but follows as well after we graduate. So to our family and friends, past and present mentors, we send our deepest thanks. We also want to thank Mattie and George for facilitating and organizing this webinar and for also building many of our technical question. Leading up to this event. And we also want to thank, of course, Debra Hess, Norris, and Joe. I'll weekends for all you do for our program each and every day. This program though, would not be able to be run without a huge important people. So Susan, bran, Teresa, Clara, and chase, Thank you so much for all you do for us, big and small and often behind the scenes. And so with that, I'm just going to turn it back over to Debbie. Thank you all again for joining us virtually to help us celebrate such a big mile. Stone. Thank you, Juliana. Thank you, Katie. Well, that's really fantastic. And let a great new tradition. Your classes started. And thank you Andrew, and learn the entire society when a TAR fellows for all that you do for our students and for all the lungs from both programs. We are so grateful. So I'm going to conclude with some of my own thanks and some comments as well. And of course, most importantly, enormous congratulations to the Class of 2020. We are so very proud of you. We offer a special thanks to the families of the class of 2020 for sharing is remarkable emerging conservation professionals with each of us. During the past three years. We welcome all of you into the winter and university Diller community, including our faculty staff, past and present, and more than 400 the lungs and their families. We are connected globally through mutual respect and a commitment to excellence and a passion for the preservation of our cultural heritage worldwide. Special thanks to our longstanding donors and supporters from you didn't win utter. Your generous support ensures that we continue to admit the best and brightest students and to offer competitive stipends and rich professional development experiences. And you've certainly seen many examples of those today. Yesterday. Thanks to the many leaders in our field and allied professionals, including our preprogram summer and third, your supervisors. We value your investment in our student's success. The great strength of our graduate program is centered on these sustained enrich partnerships where we educate and train conservation professionals together. Very special thanks to our faculty who have so generously shared their deep expertise, the knowledge, and love, and that came true. You could see that today and yesterday for sure with our fellows, your unparalleled creativity and ingenuity had during the pandemic, as we have had to transition to online and hybrid teaching and learning platforms. We especially welcome Kathy Gillis, conservator or furniture when winter and celebrate William Douglas, promotion to associate preventive conservator at monitor. Both Kathy and William are treasured members of our faculty. Simultaneously, we congratulate Mark Anderson on his recent retirement and thank him for his nearly 34 years service. Since 1996. Mark has generously shared his skills, knowledge, and innate kindness with our graduate students, introducing them to the magic and beauty of when occur and the concert. Joined wooden objects. Simple words cannot capture my deep admiration and respect and love for all of our faculty. I would also like to recognize our current staff that UD and winter for their tireless work and dedication as Giuliana did before me. Fran, Susan, Teresa Eclair, and chase, you are the very best. You keep us organized. You keep a supported, and you keep us sane. Thank you so very much. And a special thanks again to many Hackman and George Watson or logistical personnel for your technical and organizational skills. And you're calm presence. As we deliver these presentations, I think incredibly successfully. Visine webinar. As together here today, we thank those who came before us and those whose memories and spirits around us. We share our deep love and admiration for Vicky Cassin who departed this earth on August six. On her own terms and in peace. She was and always will be a gift to each of us. A legendary teacher and mentor. Vicki radiated joy, kindness, compassion. As for the class of 2020, you have all shown enormous professional growth during this more than challenging third year of study. From traditional, modern and contemporary paintings to archaeological, ethnographic and decorative objects, Persian manuscripts, him colored prints, papyrus foodstuffs, and even teabags. You've tackled them all. You've worked in collaboration with others to preserve object's moment, some memories from Asia to Africa, ensuring they do not lose their meaning and context for the education, enrichment, and enjoyment of current and future generations. You've committed your life's work to adjust future and the betterment of humanity. You have touched the lives of many. Well, we will miss your presence in the end, we know that you will never be far away. And we hope that you will always feel an essential part of the when utter University, Delaware program in Art Conservation. For this is such a very special graduate program. A place with friendships. You will treasure all your lives. Well, the cultural heritage preservation needs across the United States and indeed around the world are massive. They are now years for the taking and do not let it be. Your expertise is needed. As Laurie noted yesterday, We need you. Many will welcome your passion and skills. Voice, educate, encourage, and mentor others. As your mentors have done so well. For each of you. Celebrate your accomplishments as you constantly strengthen your skills and advance your learning. Be empowered to use your knowledge and the preservation of cultural heritage to address the many societal challenges that surround us. Your work across the cultural heritage sector, your honesty, your bravery and your strength will promote diversity. Inclusion and reconciliation will address systemic racism, foster joy and well-being, and give voice to the voiceless. And art and culture are by no means a vaccine. They are a necessity connecting us as human beings. They give us hope. Do not be intimidated by the complexity of the work that must be done. For. It's your creativity, your critical thinking, and your positive energy, your commitment to excellence, that will bolster our profession. Indeed, it already has. We've seen it in the last two days and then all your work in the last three years. Anytime at all. All you have to do is call or email or text. And we'll be there. Your work is exciting and exacting, centered on the advancement of our field and society. Your dreams for the future, it will soon be realized. And you have the full support of your winter university Diller family, including faculty staff and alumni who remain committed to your success and exceptional promise for the future. So finally, another tradition, 23 years in making a collection of images that chronicle the class of 2020 and their three years of study. This year, Creusa has prepared with the help of others, a finale that a real showstopper, a combination of three songs. This series of fast-paced images provided by the members of the Class of 2020 and others as well, include carefully positioned overlays, a wide variety of intentional creative transitions, and a beautiful balance of the serious and the not. So. I must tell you that when I asked Chris for a simple listing of the songs represented, I thought I could use this and work this into my talk. She provided 2.5 single-spaced pages of description with remarkable value-based rationale. For this production is filled with so many verbal and visual nuances that it will make your head spin. So let me try to give you a quick overview before we start the video. File. A brief video taken from the grounds of when utter lovely day by bellwethers opens a song one feature and candid everyday happy moments, often outdoors, presented in part as a photograph album filled with memories to be treasure. And they are by many of us, indeed, by probably everyone who is listening today and yesterday. The lyrics, someone else instead of me, always seems to know the way summarizes the close relationship and critical teaching moments between our students and their mentors. A connection evidence during these past two days of presentations that we all remain deeply committed to. Watch carefully the stop-motion images, the Maddie, Lauren, Natalia, and Joanna prior to the last refrain. Then I look at you, act as a warm-up to the video clips, a follow on to SO_2, Classic and one of my all-time favorites recorded in 12 pt. On April 13th, 1965 and ranked as number 29 in the Rolling Stones 500 greatest songs of all time. This solid meets my requirement for something beetles. I was especially grateful that it runs the entire length, two minutes and 21 seconds. John and Paul would never forgive me if we cut this short. Help offers a reflection of the second-year study that continues the theme of community and support, placed with images of students and mentors that are more deeply personal and fun. Images of our beloved. Bruno and Vicki conclude this segment as their presence, their wisdom, their kindness and compassion will forever guide us. Their spirits are a reminder that our work and the preservation of cultural heritage is for the good of all mankind. Song three, thank you for being a friend, written by Andrew gold and covered by Cynthia fee for the Golden Girls Theme song, runs a powerful 40 seconds. In her liner notes, chris explains that she aim for something that continued the general upbeat, happy pace and message a community, but also something that felt like an ending to these three years of study. The Sung affirms that was and is people on your journey matter most? This section centers on images of the class of 2020 being together and well separated by screens today, there is no doubt that their spirits and our spirits are connected forever. If it's a car you lack, we unfortunately can't buy ELA kept black. Although Lorna Greg may be able to give you a spin and the roles that we have promised to bring you back to integers sometime next spring or summer to celebrate in-person. Your many professional accomplishments shared superbly during your presentations yesterday and today. On behalf of our faculty, staff, students, and alumni. I want to thank every member of the class of 2020 for being such a source of inspiration. I wish you could see my screen and my setup. I have your pictures all over so I can sort of see you when I look at the screen and clean x's as well. In so many ways, your commitment, your skills, your knowledge, your creativity, your determination, your resilience, and your passion, or your greatest gifts. Us and to the world. We are proud of all you have accomplished. We take our hats off and wish you could each take a bow as we thank you for being a friend. And so much more. Many, many congratulations to the winning utter a university program in Art Conservation class of 2020. We will be together again in the spring or the summer, I promise you that. But with now at this point, I'd like to ask George to put on the video. Thank you. And the sunlight, something heavy. You just don't. When the day that seemed impossible. Someone else instead of always seems to know. And we'll just do plug. It. Needs not just needs a young guy. And lastly, many zooms oat bran is in the daylight. These days I gotta sell, sell that. I want to thank you for the job down. Babur. Gaba. They do that. Fluids are today's the final presentations by the class of 2020, Creusa. Thank you so much. It was such a wonderful, wonderful, wonderful presentation. And to everyone who contributed images, so many memories like I've seen it before and I'm, I'm still crying was really, really wonderful. And I see in the chat box, many are asking if they can get copies of this. And we will be certain that we make this available to anyone who would like a copy. So thank you so much. Thank again to the class of 2020. We are concluding this program now I want to extend one war thanks to our faculty and staff, to our lumps and to all of the individuals who are watching on their screens today who have supported this wonderful students through their teaching, through their mentoring, and, and so many other ways. Thank you, especially to the families for sharing this wonderful students with us gives us three years. And so with that, I think this brings our program to conclusion. Thank you again, George and Maddie for keeping us on track and for allowing us to work in the Zoom environment so beautifully. I sunlight very best wishes to all of you. Stay safe. And congrats again to our wonderful Class of 2020.
WUDPAC Class of 2020 Final Presentations, Day 2
From MaryJon Pearse September 21, 2020
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This video is a recording of day 2 of the Winterthur/University of Delaware Program in Art Conservation (WUDPAC) Class of 2020's final presentations, hosted on Zoom Webinars onAugust 19, 2020.
00:00:00 Opening Remarks and Welcome, Debra Hess Norris and Dr. John Pelesko
00:13:08 Student speaker: Tracy Liu, Introduced by Dr. Joyce Hill Stoner
00:53:30 Student speaker: Jennifer Myers, Introduced by Dr. Joyce Hill
Stoner
01:29:40 Student speaker: Julianna Ly, Introduced by Dr. Joyce Hill Stoner
02:00:24 Student speaker: Lindsey Zachman, Introduced by Joan Irving
02:39:29 Student speaker: Joanna Hurd, Introduced by Joan Irving
03:13:04 Remarks on Behalf of the Society of Winterthur Fellows, Andrew
Richmond and Lara Kaplan
03:17:55 Student Remarks, Katie Shulman, Julianna Ly
03:21:15 Final Remarks, Debra Hess Norris
03:34:37 Retrospective Video made by Karissa Muratore
00:00:00 Opening Remarks and Welcome, Debra Hess Norris and Dr. John Pelesko
00:13:08 Student speaker: Tracy Liu, Introduced by Dr. Joyce Hill Stoner
00:53:30 Student speaker: Jennifer Myers, Introduced by Dr. Joyce Hill
Stoner
01:29:40 Student speaker: Julianna Ly, Introduced by Dr. Joyce Hill Stoner
02:00:24 Student speaker: Lindsey Zachman, Introduced by Joan Irving
02:39:29 Student speaker: Joanna Hurd, Introduced by Joan Irving
03:13:04 Remarks on Behalf of the Society of Winterthur Fellows, Andrew
Richmond and Lara Kaplan
03:17:55 Student Remarks, Katie Shulman, Julianna Ly
03:21:15 Final Remarks, Debra Hess Norris
03:34:37 Retrospective Video made by Karissa Muratore
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- College of Arts & Sciences
- Date Established
- September 21, 2020
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