Inpainting: Acknowledgements

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Painting Conservation Catalog: Volume III Compiler: Catherine A. Metzger Date: January 2011

This third volume - on Inpainting - of the Paintings Conservation Catalog follows in the path of the two previously published volumes and is equally owed to the generous funding of the Paintings Speciality Group (PSG) of the American Institute for Conservation (AIC) and the Samuel H. Kress Foundation. For their continued support, we extend our heartfelt gratitude.

This volume has been realized thanks to the volunteer efforts of members of the Paintings Speciality Group in contributions of their time and effort to produce the chapters. The editorial board thanks the many members who researched, contributed advice, and critiqued each entry as it was being formulated and recognizes the tremendous willingness of the PSG membership to provide constructive criticism and insight along the way. Likewise, the members of the editorial board are to be congratulated for their untiring willingness to assist with the task of assessing and assuring the continuity of this volume with those previously published. Special thanks go to Chris Maines, editor for science, who has checked the volume for accuracy in the field.

Once again, Amy Azzam has toiled over the copyediting, catching all manner of inconsistencies and helping enormously with the clarity of the contents. Jon Albertson, the designer, has put everyone’s efforts into a handsome professional format for publication. To both go our heartfelt thanks.

We also acknowledge the contribution to the field of the many Inpainting seminars led by Jim Berstein and Deborah Evans, which have encouraged experimentation and information sharing. These investigative seminars have informed many of the entries that follow and have formed the basis of the collegial sharing of information herein.

Many thanks to Golden and Kremer for providing paint-outs of their products to be included with this catalog. Thanks as well to Gamblin for a digital image of their product lines. In the Gamblin chart, each color is its own digital file that has been adjusted to show the relative transparencies of the colors. Each chip is adjusted to show relative temperatures among colors of the same hue, which means that any distortion in the scanning process was reversed in Adobe Photoshop. Some slight discrepancies between the actual colors and the printouts will be noted in the Gamblin product.

Editorial Board

Carol Christensen Project Director 2006–present | Senior Painting Conservator | National Gallery of Art | Washington, DC

Catherine A. Metzger Compiler “Inpainting” | Senior Painting Conservator | National Gallery of Art | Washington, DC

Christopher Maines Co-Compiler Inpainting | Conservation Scientist | National Gallery of Art | Washington, DC

Joanna Dunn Co-Compiler Inpainting | Painting Conservator | National Gallery of Art | Washington, DC

Sian Jones Painting Conservator | Art Conservation Services | Baltimore, MD

Pamela Betts Painting Conservator | Shelburne Museum | Shelburne, VT

Wendy Samet Compiler “Varnishes” (1998) | Director of Conservation | Thomas Moore Studios | Baltimore, MD

Mary Sebera Stockman Family Foundation Senior Conservator of Paintings | Baltimore Museum of Art | Baltimore, MD

Kristin deGhetaldi Andrew W. Mellon Paintings Conservation Fellow | National Gallery of Art | Washington, DC

Jane Tillinghast Sherman Painting Conservator | Washington, D.C.

Barbara A. Buckley Head of Conservation | The Barnes Foundation | West Chester, PA

Sarah L. Fisher Head of Painting Conservation | National Gallery of Art | Washington, DC

Peter Nelsen Painting Conservator | ARTEX Fine Art Services | Landover, MD

Amy M. Azzam Copy Editor and Publications Coordinator | Reston, VA

Jon Albertson Publication Designer | Albertson Design | Newton, MA

Authors

Rita Albertson Chief Conservator | Worcester Art Museum | Worcester, MA

Charlotte Seifen Ameringer Associate Paintings Conservator | Museum of Fine Arts | Boston, MA

Tatiana Ausema PhD Candidate | Art Conservator | Winterthur/University of Delaware | Newark, DE

Brian Baade Adjunct Professor of Art Conservation | University of Delaware | Newark, DE

Katrina Bartlett Andrew W. Mellon Fellow in Paintings Conservation | The Menil Collection | Houston, TX

Chantal Bernicky Painting Conservator | Pittsburgh, PA

Jim Bernstein Painting Conservator | James Bernstein Art Conservation | San Francisco, CA

Panela Betts Painting Conservator | Shelburne Museum | Shelburne, VT

Carol Christensen Senior Painting Conservator | National Gallery of Art | Washington, DC

Kristin deGhetaldi Andrew W. Mellon Paintings Conservation Fellow | National Gallery of Art | Washington, DC

Jean Dommermuth Painting Conservator | National Gallery of Art | Washington, DC

Joanna Dunn Co-Compiler Inpainting | Painting Conservator | National Gallery of Art | Washington, DC

Elise Effmann-Clifford Head of Paintings Conservation | Fine Art Museums of San Francisco | de Young Museum | San Francisco, CA

Patricia Sherwin Garland Senior Conservator of Paintings | Yale University of Art Gallery | New Haven, CT

Eric Gordon Head of Paintings Conservation | The Walters Art Museum | Baltimore, MD

Elizabeth Jablonski Paintings Conservator | Fine Arts Paintings Conservation | Beechwille, Nova Scotia, Canada

Erica James Assistant Paintings Conservator | Museum of Fine Arts | Houston, TX

Sian Jones Painting Conservator | Art Conservation Services | Baltimore, MD

Joanne Klaar Walker Painting Conservator | Hyattsville, MD

Jay Krueger Senior Conservator of Modern Paintings | National Gallery of Art | Washington, DC

Dan Kushel SUNY Distinguished Teaching Professor | State University of New York at Buffalo | Buffalo, NY

Monserrat LeMense Senior Conservator of Paintings | Williamstown Art Conservation Center | Williamstown, MA

Elizabeth Leto-Fulton Painting Conservator | Somerville, MA

Joanne Klaar Walker Painting Conservator | Hyattsville, MD

Theresa Lignelli Associate Painting Conservator | Philadelphia Museum of Art | Philadelphia, PA

Catherine A. Metzger Compiler “Inpainting” | Senior Painting Conservator | National Gallery of Art | Washington, DC

Kim Muir Andrew W Mellon Conservation Research Fellow | Art Institute of Chicago | Chicago, IL

Winifred Murray Former Andrew W Mellon Fellow in Paintings | Worcester Art Museum | Worcester, MA

Christine Milton O’Connell Assistant Painting Conservator | Indianapolis Museum of Art | Indianapolis, IN

Helen Mar Parkin Painting Conservator | Houston, TX

Wendy Partridge Painting Conservator | Intermuseum Conservation Association | Cleveland, OH

Laura Rivers Museum Conservation Council Associate | J. Paul Getty Museum | Los Angeles, CA

Victoria Montana Ryan Painting Conservator | Art Care Services | Colorado Springs, CO

Jane Tillinghast Sherman Painting Conservator | Washington, DC

Matthew Skopek Associate Painting Conservator | Whitney Museum of American Art | New York, NY

Laurent Sozzani Senior Paintings Restorer | Rijksmuseum | Amsterdam, Netherlands

Joyce Hill Stone Edward F. and Elizabeth Goodman Rosenberg Professor of Material Culture and Adjunct Painting Conservator | Winterthur Museum | Wilmington, DE

Michael Swicklik Senior Painting Conservator | National Gallery of Art | Washington, DC

Mark Tucker Senior Painting Conservator | Philadelphia Museum of Art | Philadelphia, PA

Mark van Gelder Painting Conservator | Art Conservation Services of Austin | Austin, TX

Elizabeth Walmsley Painting Conservator | National Gallery of Art | Washington, DC

Janine Wardius Painting Conservator | Bergen Art Museum | Bergen, Norway

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