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Creating + conserving

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What is conservation?
Art Conservation Behind the Scenes
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The conservator's eye: Taddeo Gaddi, Saint Julian
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Painting
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Tempera paint
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Almost Invisible: The Cartoon Transfer Process
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About color
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Making Purple: The Science of Art
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How to paint like...
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Art Terms in Action: Paint
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Van Gogh’s Enclosed Field with Ploughman under raking light
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Introduction to lithography
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Making manuscripts
Renaissance Watercolours: materials and techniques
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
Photographs
Making
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Before photography (1 of 12)
The Daguerreotype (2 of 12)
Talbot’s Processes (3 of 12)
The Cyanotype (4 of 12)
The Collodion process (5 of 12)
The Albumen Print (6 of 12)
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Making Greek vases
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Conservation: Korean lacquer
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Conserving
William Morris, The Bullerswood Carpet
Conserving the Emperor’s Carpet
Conservation of the Ardabil Carpet: the oldest dated carpet in the world
Conservation: Indian jama
Frames
Choosing
Framing Christina’s World by Andrew Wyeth
Conserving
Behind the scenes of the framing department at The National Gallery, London
Van Dyck’s Self-portrait: The Frame and its Conservation
Architecture
Conserving
Kasbah Taourirt: Conserving Earthen Heritage in Morocco
Conservation Reel archive
What is conservation?
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IMA Conservation: The Oddy Test
IMA Conservation: Documentation Imaging
IMA Conservation: 5 Questions with Richard McCoy
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IMA Conservation: 5 Questions with Gregory Smith
IMA Conservation: 5 Questions with David Miller
IMA Conservation: 5 Questions with Amanda Holden
IMA Conservation: 5 Questions with Aaron Steele
Manuscripts and works on paper
How to Examine a Work on Paper
Wrapping Paper Objects for Hand Transport
Painting
Conservation Notes: Tom Thomson’s The West Wind
Finding the Lost Crucifix in a Perugino Panel Painting
Finding the Original Context of Rosselli’s Kneeling Angel
Examining a Panel Painting
IMA Conservation: Cleaning a Painting
Inpainting a Van Dyck
IMA Conservation: Pigment Analysis with XRF Spectrometry
What X-Rays of a Vivarini Reveal About Its Past
Examining a Veronese with XRF Spectrometry
Sebastiano Mainardi: The Science of Art Installation, Behind the Scenes
Sculpture + installation
Lab Tour: Objects and Variable Art
Preserving Art: Tara Donovan's Untitled (Plastic Cups)
Tara Donovan’s Untitled (Mylar)
Artist Max Dean on the conservation of As Yet Untitled
Talking Chaos with Roland Wetzel
A Conversation with Robert Irwin on Light and Space III
IMA Conservation: The Lightbulbs in Light and Space III
Evidence of Lost Wax Casting
Textiles
IMA Conservation: Preparing a Mola Garment for Display
IMA Conservation: Preparing Mola Textiles for Display
Frames
Examining a 17th-century frame
Architecture
The Making of the Bartholomew County Veterans Memorial
Modern Architecture as Heritage
Talks + symposia
Innovative Approaches to Conservation
Conservation Data and Digital Asset Management
Moving Responsibilities: The Care of Performance-Based Sculpture
The Invention of Glory: A Symposium
The Plus/Minus Dilemma: The Way Forward in Environmental Guidelines

Inpainting a Van Dyck

by Indianapolis Museum of Art

David Miller, Chief Conservator and Senior Conservator of Paintings, Conservation and Conservation Science Departments,Indianapolis Museum of Art

Cite this page as: Indianapolis Museum of Art, "Inpainting a Van Dyck," in Smarthistory, May 9, 2017, accessed August 1, 2021, https://smarthistory.org/inpainting-a-van-dyck/.

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A young (and ambitious) Rembrandt

Rembrandt's Self-Portrait, Age 23

Rembrandt, Self-Portrait

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