Session 1 – Conservation narratives and practices

The first version or a copy of a now-lost original? Implications of a recent infrared examination of two versions of Bridal Procession on the Hardanger Fjord 

Eilif Salemonsen, Laura Homer 
(University of Oslo / Nasjonalmuseet) 

Connecting the Dots in a coastal memory fort: Collaborative Efforts in Art History, Conservation and community engagement 

Vanessa Antunes, Marluci Menezes, Carla Tomás, José Cruz, Gunnar Liestol, João Serra 
(Centro de Estudos Históricos da Lourinhã / Laboratório Nacional de Engenharia Civil / NOVA School of Science and Technology / Multiple institutes from Universidade de Lisboa / University of Oslo)  

The Hidden Face of Gauguin 

Thierry Ford, Vibeke Waallann-Hansen, Claire Bernardi 
(Nasjonalmuseet / Musée de l’Orangerie) 

Conservation or Creation? Murals restored by Gerhard Gotaas 

Susanne Kaun, Elisabeth Andersen 
(Norwegian Institute for Cultural Heritage Research) 

Filling the Gap: Tracing the History of a Canvas Insert in The Night Watch 

Laura Raven, Ester van Duijn, Mitra Almasian, Annelies van Loon, Alba Alvarez Martin, Petria Noble, Katrien Keune 

Varnished, overpainted, scrubbed, and ennobled – the plaster cast collection of the National Museum Oslo 

Katharina Kruck 

Reconstructing what is lost – material transformations and authenticity 

Caitlin R. O'Grady 
(Institute of Archaeology, University College London) 

Before derestoring a painting. Combination of Optical Coherence Tomography with analytical methods to unveil a former restoration and enhance the history of conservation in the 19th century Paris 

Diane Le Corre, Elsa Perruchini, Chloé Ranchoux, Gaël Latour 
(Institut National du Patrimoine / Laboratoire d’Optique et Biosciences, École Polytechnique, CNRS, INSERM, IP Paris, Université Paris-Saclay) 

Different contexts, common challenges: Conservation of a distemper wall painting (1690) by Henning S. Munch in Vågå Church, Norway 

Lena Porsmo Stoveland, Karen Mengshoel, Anne Apalnes Ørnhøi, Calin Costantin Steindal, Tine Frøysaker  
(Norwegian Institute for Cultural Heritage Research / University of Oslo / SciCult-KHM Laboratory)  

Forget fresco? Culturally and technologically appropriate terminology for wall paintings 

Joshua A. Hill 
(Nottingham Trent University, Department of Chemistry & Forensics) 

Time lining: the history of the structural treatments in Guercino’s Saint Joseph with the Christ Child 

Paula Serra Sánchez, Maddalena Magnani, Chiara Chillé 
(National Gallery of Ireland)

Dilemmas and decision-making during conservation and restoration of wall painting fragments from church of St Nicholas in Palež, Serbia

Bojana Savić, Radomir Samardžić 
(Faculty of Applied Arts, University of Arts, Beograd) 

Reasons behind wall painting detachment in Georgia and critical results of the practice 

Tamar Kipiani 
(Polytech Tours, University of Tours) 

Objects as Performances, Objects that Performs: Fluxus’ legacy and the expanded notion of conservation. 

Aga Wielocha 
(Bern Academy of the Arts / Hochschule der Künste Bern) 

Dancing across ‘the gap’ with 360 Degree Art History 

Helen Hughes 
(Helen Hughes – Historic Interiors Research & Conservation) 

The conservation and restoration of the relief Lamentation of Dead Christ  in painted stucco 

Conceição Ribeiro, Joana Martins 
(National Museum of Ancient Art of Lisbon / Évora University) 

Session 2 – Material practices, reconstructions, and archival research

Edward Kienholz: digging a deeper truth 

Corina E. Rogge, Kari Dodson 
(The Museum of Fine Arts Houston and the Menil Collection)

Reconstructing multimedia from material intentions and uncertain sources 

Jøran Rudi, Jina Chang, Randi Godø 
(Nasjonalmuseet / University of Huddersfield) 

Commercial synthetic artists’ varnishes for acrylic paintings 

Laura Homer 

Inflatable structures and “new” plastic material in the democratic design of de Pas d’Urbino Lomazzi Studio: the archival research as an action for the conservation of the design object and their history 

Ilaria Saccani, Grazia Cavanna , Davide Riggiardi, Maria Fratelli, Elisabetta Pernich, Mariella Brenna, Maria Teresa Feraboli 
(CESMAR7- Centro per lo Studio dei Materiali per il Restauro / CASVA- Gli archivi di progetto del Comune di Milano / Dipartimento di Architettura e Studi Urbani- Politecnico di Milano / Dipartimento di Design- Politecnico di Milano) 

Hand in Hand in front of Nazarene Paintings: New Aspects through an Art Technological Perspective 

Eva Reinkowski-Häfner 
(Freelance conservator) 

Honey-coatings in an early 18th century recipe for smalt processing 

Paul J.C. van Laar, Dominique M.E. Thies-Weesie, Thijs Hagendijk, Maartje Stols-Witlox, Gert Jan Vroege 
(School of Science and Technology, Universidade NOVA de Lisboa / Utrecht University / University of Amsterdam) 

Thomas Fearnley: Material aspects in art historical context 

Tina Grette Poulsson 

Material practice in Morocco: Hilda Rix Nicholas’ Tangiers paintings 

Catherine Nunn 
(The University of Melbourne) 

Learning the golden ways: Communicating old crafts to a new audience

Vilde Dalåsen, Marie Kleivane, Brynhild Slaatto 

The Vilhelm Hammershøi Digital Archive – an interdisciplinary research project into the materials and working methods of the Danish painter Vilhelm Hammershøi 

Anne Haack Christensen, Troels Filtenborg, Loa Ludvigsen, Pauline Lehmann Banke, Gianluca Pastorelli, Annette Rosenvold Hvidt, Jørgen Wadum, Annette S. Ortiz 
(National Gallery of Denmark / Wadum Art Technological Studies / Independent researcher / The Walters Art Museum) 

One becomes two: the case of a double-sided collage on canvas by Juan Gris and its multi-analytical characterization 

Chiara Chillé, Paula Serra Sánchez, Maddalena Magnani, Natalia Macro 
(National Gallery of Ireland) 

Drawing with “scales from a butterfly’s wings”: Belgian artists’ use of friable drawing techniques (1850-1914) 

Marie-Noëlle Grison 
(KU Leuven) 

The Role of Tradition in Bhutanese Wall Painting Practices: Insights from Interviews with Traditional Painters 

Karma Yeshey 
(Department of Culture and Dzongkha Development, Ministry of Home Affairs, Royal Government of Bhutan) 

Giorgio Vasari’s book of drawings and an analysis of works attributed to Davide Ghirlandaio 

Carina Fryklund, Helen Evans, Tom Sandström, Karin Wretstrand 
(Nationalmuseum / Swedish National Heritage Board) 

The painter Hans Heyerdahl’s experiments with materials and techniques and their historical context 

Trond Erik Aslaksby, Hans-Martin Frydenberg Flaatten 
(Independent researchers) 

Session 3 – Material changes

The Re-use of Middle Age Cope from the Stavanger Cathedral 

Dr. Hana Lukesova 
(University Museum of Bergen) 

From Ghost Image to Lost Image. How an unwanted degradation phenomena led to the identification of an invisible signature 

Maude Daudin-Schotte, Elyse Canosa, Cecilia Rönnerstam 
(Nationalmuseum / Swedish National Heritage Board) 

Connecting to colour slide film: Overview of an interdisciplinary research project 

Lénia Oliveira Fernandes, Élia Roldão, Sanneke Stigter 
(NOVA Faculty of Science and Technology / University of Amsterdam) 

BioVanitas a matter of Time

Haizea Salazar-Basañez 
(University of the Basque Country) 

Paint tubes of ultramarine and cobalt blue in the MUNCH’s original artist materials collection – a multi-analytical approach to their study 

Beatrice Giorgia Boracchi, Jin Strand Ferrer, Francesca Caterina Izzo, Irena Kralj Cigic, Katharina Muller, Ljiljana Puskar, Terje Syversen, Irina Crina Anca Sandu 
(University of Venice / Munch Museum / University of Ljubljana, Faculty of Chemistry and Chemical Technology / IPANEMA - Site du Synchrotron) 

Hyperspectral pigment mapping of Edvard Munch’s Self Portrait (1905) 

Nina Christine Eckertz, Hilda Deborah 
(University of Cologne / Norwegian University of Science and Technology) 

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Paper sessions

Please note that there might be additional changes to the program.