Bridging the Gap – Synergies between art history and conservation

Conference 23–24.11.2023

22 November


Registration opens in Vestibylen.

After registering there is access to the museum with a conference pass.


Day 1: 23 November


Registration begins.

Entrance from the main entrance and library entrance.

Coffee will be served.



The Auditorium opens for seating.



Streaming begins.

Welcome and practical information (fire/safety and questions) with Kari Skytt Andersen, Head of Conservation.



Welcome by Ingrid Røynesdal, the Director of the National Museum


Session 1: Conservation Narratives

Introduction to by session chair Dr. Thierry Ford



Decision-making, risk assessment and ethical considerations related to the treatment of Rembrandt’s Night Watch, using a Treatment Option Diagram

Nienke Woltman, Esther van Duijn, Anna Krekeler, Katrien Keune, Annelies van Loon, Suzan Meijer, Petria Noble, Laura Raven, Willem de Ridder, Ige Verslype, Giulia de Vivo, Lisette Vos 



Whose story to tell? Many intervening masters of Bernt Notke’s altarpiece in Tallinn’s Church of the Holy Spirit

Hilkka Hiiop, Anneli Randla, Hannes Vinnal, Kristina Aas
(Estonian Academy of Arts / University of Tartu / Estonian Open-Air Museum) 



Conservation practices in the age of the “Misanthropocene”

Merry Chow, Dean Sully
(UCL Institute of Archaeology)



Lunch and Poster session in Vrimleområdet and Storsalen



Fragments and Variations: An Archival Afterimage of Early Virtual Reality Art
Kira Alison Brown 
(McGill University)  



Bridging the Channel – the dissemination of the Dutch wax-resin lining method to the United Kingdom in 1929

Esther van Duijn, Michiel Franken, Mireille te Marvelde  
(Rijksmuseum / Independent researcher / Frans Hals Museum)



The Study, Care, and Curation of the Sri Lankan Bronze Statue of Tara at the British Museum: An Interdisciplinary and Decolonizing Response 

Sujatha Meegama, Lori Wong 
(The Courtauld Institute of Art) 



Session 1 ends with closing remarks by the chair.



Coffee break and Poster session in Vrimleområdet and Storsalen


Session 2: Material practices

Introduction to Session 2 by session chair Professor Dr. Tine Frøysaker



Technical Art History, Turtles and Mesh works

Erma Hermens, Paul van Laar
(Hamilton Kerr Institute / Fitzwilliam Museum / University of Cambridge / NOVA School of Science and Technology & Faculty of Fine Arts) 



Bridging Art History and Conservation: Wyndham Lewis’s Praxitella and Helen Saunders’s Lost Atlantic City 

Helen Kohn, Rebecca Chipkin 
(Goethe-University Frankfurt / Gemäldegalerie Alte Meister / Studio Redivivus) 



Streaming ends.



The Conference Reception in Vrimleområdet



All participants leave through Dronning Mauds gate door.


Day 2: 24 November

Admission is at the side entrance in Dronning Mauds gate.
Late arrivals can register at the ordinary ticket office at the main entrance. 



The Auditorium opens for seating.


Session 2 continues

with Professor Dr. Tine Frøysaker as chair.



Layered interpretations: Van Gogh’s practice of reworking his Nuenen paintings 

Muriel Geldof, Erika Smeenk-Metz, Kathrin Pilz, Luc Megens, Suzan de Goot, Rika Pause, Saskia Smulders, Sanne Berbers, Christel van Hees, Klaas Jan van den Berg, Ella Hendriks
(Cultural Heritage Agency of the Netherlands / Restauratieatelier Metz / Van Gogh Museum / Museum Boijmans van Beuningen / University of Amsterdam) 



Purple with a purpose: Investigating and reconstructing the discoloured skirt in Frans Hals’s Portrait of Aletta Hanemans

Fahed Ibrahim, Sabrina Meloni, Abbie Vandivere, Annelies van Loon 
(Cultural Heritage Agency of the Netherlands / Mauritshuis / Rijksmuseum) 



Video calling Mark Manders. Co-constructing an audio-visual art technological source

Sanneke Stigter, My Bundgaard 
(University of Amsterdam / Moderna Museet) 



Edvard Munch’s hectographs. A study of the collection at Munchmuseet – with particular emphasis on the technique and Munch’s innovative artistic practice.

Signe Endresen, Emma Turgut



Session roundup by chair



Lunch and Poster session in Vrimleområdet and Storsalen


Session 3: Material changes

Introduction to Session 3 by Professor Dr. Klaas Jan van den Berg


Asger Jorn’s oil paint. Discussing visual, physical and chemical aspects of solid and soft paint.
Ida Antonia Tank Bronken, Wim Genuit, Ineke Joosten, Klaas Jan van den Berg
(The National Museum / Cultural Heritage Agency of the Netherlands / University of Amsterdam) 



Material changes in time-based media art: obsolescence and artistic intervention
Rea Grammatikopoulou, Tzu-Chuan Lin
(Kunstsammlung Nordrhein-Westfalen)


Colour changes in depicted foliage: investigation into the role of gypsum in the light ageing of yellow lake pigments

Charlotte Hoffmann, Ester S. B. Ferreira 
(TH Köln / Cologne Institute of Conservation Sciences) 



Coffee break and Poster session in Vrimleområdet and Storsalen.



A new look at the thirteenth century painted vault from Ål stave church – its nature and future care

Linn Solheim, Kaja Kollandsrud 
(Museum of Cultural History, University of Oslo) 



A Collaborative Approach to Conserving Wax Sculpture

Alexandra Letvin, Nicole Passerotti
(Princeton University Art Museum / Andrew W. Mellon Opportunity for Diversity in Conservation / The UCLA / Getty Interdepartmental Program in the Conservation of Cultural Heritage) 



On Interdisciplinary Research: Patina – Traces of the Past in Contemporary Art 

Irene Glanzer, Angela Matyssek

(Doerner Institut, Bavarian State Painting Collections, Munich / Hochschule für Bildende Künste Dresden) 



Session roundup by chair.



Round up and farewell by Ida Bronken, senior paintings conservator and conference organizer.

Streaming ends.



Tours of the exhibitions
(First come, first serve when registering for the conference)

Tour 1: Harriet Backer, every atom is colour – with curator Vibeke Wallan Hansen Temporary exhibition in the light hall.

Tour 2: Following the red thread – with collection advisor Janne Helene Arnesen and textile conservator Eva Düllo on the first floor of the permanent exhibition.

Tour 3: Nøstetangen engraved glass and Herrebø faience, a collaborative effort of a permanent exhibition – with curator Inger Helene Stemhaug and objects conservators Christina Iversen and Maren Midtdal, on the first floor of the permanent exhibition.

Tour 4: From Dahl to Munch, a few highlights in the permanent display. “This could only have been painted by a mad man”. – with curator Mai Britt Guleng and paintings conservator Ida Bronken, on the second floor of the permanent exhibition.



Exit for all towards Dronning Mauds gate.