Painter, the Punters, and the Musicians by the
the painting conservator explores three
distinctive and independent art
collections in East Anglia.
Here we look
at three contrasting independent collections of
paintings, housed in their
original domestic settings, between them
spanning the mid eighteenth century to
the mid twentieth.
is a busy environment, used for far more than
exhibition purposes, and each has
a fascinating story to tell of the people who
built them up.
Alfred Munnings’ Dedham
home opens to the public to reveal work from
across his controversial career;
Red House, home of Sir
Benjamin Britten and Peter Pears, in Aldeburgh,
presents a C20th art and design
Jockey Club at Newmarket
– and the town itself -together
the story of a C18th coffee house for the rich
and powerful racehorse owners
that became the home and controlling body ofhorseracing, completewith
distinctive collection of equestrian art.
at individual case histories, and see how
science informs conservation, and
learn something of George Stubbs’ experimental
painting techniques - all
illustrated with many images.
within paintings, and an exploration of what is
meant by ‘authentic’.
As soon as a
painting is completed, it starts to change!
images taken during conservation work in the
studio, this talkdescribes the physical and cosmetic
wrought by ‘time’s paintbrush’,and
on to narratesurprising talesofartists- and owners - who
changed their paintings, and the particular
social and emotional pressures that
forced their hands .
which of the evolving states of a painting is
the ‘authentic’ one are fluid,
and we explore concepts of authenticity, and
venture to propose that more
people than the original artist contribute to
the ongoing creative process.
and uncovering Constables in the Dedham Vale: tales from the
painting a Constable? Or could it have been
painted by his teacher, a follower,
or even by his assistant? Who decides, and how?
studio images from her case histories, the
painting conservator tells the
stories of pictures that were encountered while
working in the Dedham Vale, the
area where Constable grew up and worked and
which he made into an enduring
ideal of the English landscape.
It is still
possible to ‘find’ such a Constable, whether it
turns up at Auction, or is
finally brought out of obscurity as a result of
images illustrate the process of the
preparation, analysis and cleaning of an
iconic Constable painting , and we learn about
the various means by which a
painting is dated and authenticated.
on paintings: the conservator as General
ourselves, paintings change, age and deteriorate
in a wide variety of ways, and
the conservator, like the doctor, is on call for
the (sometimes startling!)problems,
the remedies available, starting with the ideal
‘healthy lifestyle’, and moving
on to the conservation equivalent of major
detailed and close-up images such as can only be
seen under the lights of the
studio, we see work in progress, and the
This talk is
a basic briefing on the objectives and methods
of conservation of paintings,
and invites sympathy for paintings that are
badly treated, and gives guidance
on how to look after pictures, whether at home
or in a larger collection.
oil paintings* in country churches
Churches house paintings. Often these are Royal
Coats of Arms, or memorial
hatchments - heraldic paintings with a language
and history all their own.
are far from ideal environments for pictures,
and occasionally are the worst of
all, with the result that they suffer
characteristic patterns of decay. This
talk describes such processes, and gives
copiously illustrated case histories
of successful conservation and restoration
important part of the project is always people:
individuals who take on a
project for the church, starting with rallying
enthusiasm, then satisfying the
church Authority’ s Faculty requirements, and
successfully enduring the hard
slog of finding funding. The Vicar, theDiocesan authority, the architect, the
builder, the PCC, scaffolders,
and conservation team all need to work together.
conservation work of the past, everything is
documented, before, during and
after work, leaving a vital archive for the
conservators of the future.
paintings, nor painted screens, which are