Curated Guides > Thematic Series > Creating and Conserving
Creating and Conserving
Learn about the materials and techniques used by artists over the centuries, and the work of conservation.
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Conservator Jessica Chloros working on a 16th-century painted sculpture at the Isabella Stewart Gardner Museum
Marble statue of a wounded warrior, c. 138–181 C.E., Roman copy of a Greek bronze sculpture of c. 460–450 B.C.E., 220.98 cm high (The Metropolitan Museum of Art, New York)
- The conservator’s eye: Marble statue of a wounded warrior
- The conservator's eye: Taddeo Gaddi, Saint Julian
- The conservator’s eye: a stained glass Adoration of the Magi
- The conservator’s eye: Rembrandt, Aristotle with a Bust of Homer
- The conservator’s eye: Madame Cézanne in the Conservatory
- The conservator’s eye: Anselm Kiefer, Bohemia Lies by the Sea
Simone Martini, Saint Andrew, c. 1326, tempera on wood, gold ground, 57.2 x 37.8 cm (The Metropolitan Museum of Art, New York)
- Materials and techniques
- Tempera paint
- Oil paint in Venice
- Renaissance Watercolours: materials and techniques
- Gold-ground panel painting
- How to stretch a large canvas
- Almost Invisible: The Cartoon Transfer Process
- Investigating Rothko’s Technique
- About color
- Making Purple: The Science of Art
- Making Green: Tempera versus Oil
- The Alchemy of Color and Chemical Change in Medieval Manuscripts
- How to paint like...
- How to paint like Willem de Kooning
- How to paint like Franz Kline
- How to paint like Yayoi Kusama
- How to paint like Agnes Martin
- How to paint like Jackson Pollock
- How to paint like Barnett Newman
- How to paint like Ad Reinhardt
- How to paint like Mark Rothko
- Art terms in action
- Art Terms in Action: Paint
- Art Terms in Action: Turpentine Burn
- Art Terms in Action: Palette Knife
- Art Terms in Action: Tint, Shade, and Tone
- Art Terms in Action: Emulsion
- Art Terms in Action: Enamel
- Art Terms in Action: Stain
- Art Terms in Action: Viscosity
- Conserving
- Remaking a fourteenth-century triptych
- Conservation of paintings
- Conservation: portrait miniatures
- Ghent Altarpiece project overview
- Conserving a portrait of King Edward VI
- Jan Gossart – Conservation Discoveries
- Conserving Velázquez’s Portrait of Philip IV
- Conserving Flowers in a Glass Vase
- Michael Gallagher on Everhard Jabach and His Family
- Conserving the Virgin of Guadalupe
- Conserving Vincent van Gogh's Field with Irises near Arles
- Van Gogh’s Enclosed Field with Ploughman under raking light
- The Science of Van Gogh’s Bedrooms
- Restoring Rothko
- Conserving Cuzco School Paintings
Jean-Léon Gérôme, The Artist Sculpting Tanagre, 1890, oil on canvas (Dahesh Museum of Art, New York)
- Making
- Carving Marble with Traditional Tools
- Quarrying and carving marble
- Making a Spanish polychrome sculpture
- Bronze casting using the lost-wax technique
- Bronze casting using the direct lost-wax method
- Working jade
- Conserving
- The Conservation of Tullio Lombardo’s Adam
- Object Conservation – Salisbury Cross
- Conservation: Cast of the Pórtico de la Gloria
- Contemporary Art Conservation at Smithsonian’s Hirshhorn Museum
- Conservation: The Nasrid plasterwork collection at the V&A
- Conserving The Wolsey Angels
Phil Sanders, Director of the Robert Blackburn Printmaking Workshop at MoMA, demonstrates relief printmaking (film still: MoMA)
- Printmaking
- Introduction to printmaking
- Introduction to relief printmaking
- Relief process
- Introduction to intaglio
- Intaglio process
- Lithography process
- Introduction to lithography
- Making and conserving manuscripts and drawings
- Making manuscripts
- Drawing with charcoal: historical techniques of 19th-century France
- Science and Paper: Conserving a Drypoint by Michael Heizer
- Conserving Old Master Drawings
- Henri Matisse: Conserving The Swimming Pool
An example of Thomas Wedgewood's attempts to make photographic images with light's affect on leather treated with silver nitrate (George Eastman Museum)
- Making
- Before photography (1 of 12)
- The Daguerreotype (2 of 12)
- Talbot’s Processes (3 of 12)
- The Cyanotype (4 of 12)
- The Collodion process
- The Albumen Print (6 of 12)
- The Platinum Print (7 of 12)
- The Pigment Processes (8 of 12)
- The Woodburytype (9 of 12)
- The Gelatin Silver Process (10 of 12)
- Color Photography (11 of 12)
- Digital Photography (12 of 12)
Magdalene Anyango N. Odundo, Symmetrical Reduced Black Narrow-Necked Tall Piece, 1990, terracotta, 40.6 x 25.4 x 25.4 cm (Brooklyn Museum, New York) © Magdalene A.N. Odundo
Detail of soldier’s face with tesserae arranged to create light and shadow, Alexander Mosaic, created in the 2nd century B.C.E., from the House of the Faun in Pompeii, reconstructed in the Museo Archeologico Nazionale di Napoli
Bobbins of thread used for weaving into a tapestry on a loom (J. Paul Getty Museum)
Framing Andrew Wyeth's Christina's World, 1948, tempera on panel, 81.9 x 121.3 cm (MoMA, video still)
Kasbah Taourirt in Ouarzazate, Morocco (video still: J. Paul Getty Museum)
