Histories of Conservation and Art History in Modern Europe

Sven Dupré is Director of the Research Institute for History and Art History, and a Professor of History of Art, Science and Technology at Utrecht University and the University of Amsterdam. He was PI of the ARTECHNE project "Technique in the Arts: Concepts, Practices, Expertise, 1500–1950," supported by a European Research Council (ERC) Consolidator Grant (2015–2021).Jenny Boulboullé is a historian and philosopher, studying hands-on practices in the arts and sciences. She has held research positions at Columbia University, Utrecht University, and the University of Amsterdam as a member of the "Making and Knowing" project and the ARTECHNE project, and at the Cultural Heritage Agency of the Netherlands.

• 1 Introduction: Experts in the Interbellum Part 1 Science, Authentication and Issues of Conservation 2 "We Cannot Splash Light onto Our Palettes": The 1893 Munich Exhibition and Congress and Its Public Demand for Research on Painting Materials and Techniques 3 A. P. Laurie and the Scientific Appreciation of Art 4 Seeing Through the (Old) Masters: The Crisis of Connoisseurship and the Emergence of Radiographic Art Expertise 5 Rome 1930, the International Conference on the Scientific Analysis of Artworks and Its Legacy in Italy Part 2 Education and Professionalisation 6 Mending, Sticking, and Repairing: Reconstructing Conservation Expertise in Archaeology in the Nineteenth and Twentieth Centuries 7 Wissenschaft, Vocation, or Bildung?: Debating the Sites and Aims of German Art History at the End of the Nineteenth Century 8 Education in the Art and Conservation Field in German Countries 9 Experiments in a Teaching Museum: The Fogg’s "Laboratory for Art" Part 3 Museums and Institutions 10 Omnium Gatherum to a ‘Treasury of Art and Science’: The Development of Conservation Expertise at the Ashmolean Museum 11 The (In)visibility of the Paintings Restorers of the Rijksmuseum in the First Half of the Twentieth Century 12 Gemäldekunde. German Pioneers of the ‘Science of Painting’ 13 Invention as Necessity: The Salvage of Italian Frescoes During World War II 14 Expertise, Multiple Actors, and Multiple Voices