However, perhaps the first organized attempt to apply a theoretical framework to the conservation of cultural heritage came with the founding in the United Kingdom of the Society for the Protection of Ancient Buildings in 1877.
During the same period, a French movement with similar aims was being developed under the direction of Eugène Viollet-le-Duc, an architect and theorist, famous for his restorations of medieval buildings. Conservation of cultural heritage as a distinct field of study initially developed in Germany, where in 1888 Friedrich Rathgen became the first chemist to be employed by a Museum, the Koniglichen Museen, Berlin (Royal Museums of Berlin).
He not only developed a scientific approach to the care of objects in the collections, but disseminated this approach by publishing a Handbook of Conservation in 1898.
In British archaeology, key research and technical experimentation in conservation was undertaken by women such as Ione Gedye both in the field and in archaeological collections, particularly those of the Institute of Archaeology, London. In the United Kingdom, pioneering research into painting materials and conservation, ceramics, and stone conservation was conducted by Arthur Pillans Laurie, academic chemist and Principal of Heriot-Watt University from 1900.
In 1956 Plenderleith wrote a significant handbook called The Conservation of Antiquities and Works of Art, which supplanted Rathgen's earlier tome and set new standards for the development of art and conservation science. In the United States, the development of conservation of cultural heritage can be traced to the Fogg Art Museum, and Edward Waldo Forbes, its director from 1909 to 1944.
1850 in New York City) invented the vacuum hot table for relining paintings in 1920s; he filed a patent for the table in 1937.
In 1924 the chemist Dr Harold Plenderleith began to work at the British Museum with Dr.
He encouraged technical investigation, and was Chairman of the Advisory Committee for the first technical journal, Technical Studies in the Field of the Fine Arts, published by the Fogg from 1932 to 1942.
1850 in New York City) invented the vacuum hot table for relining paintings in 1920s; he filed a patent for the table in 1937.
He encouraged technical investigation, and was Chairman of the Advisory Committee for the first technical journal, Technical Studies in the Field of the Fine Arts, published by the Fogg from 1932 to 1942.
Gettens and Stout co-authored Painting Materials: A Short Encyclopaedia in 1942, reprinted in 1966.
In 1956 Plenderleith wrote a significant handbook called The Conservation of Antiquities and Works of Art, which supplanted Rathgen's earlier tome and set new standards for the development of art and conservation science. In the United States, the development of conservation of cultural heritage can be traced to the Fogg Art Museum, and Edward Waldo Forbes, its director from 1909 to 1944.
In 1956 Plenderleith wrote a significant handbook called The Conservation of Antiquities and Works of Art, which supplanted Rathgen's earlier tome and set new standards for the development of art and conservation science. In the United States, the development of conservation of cultural heritage can be traced to the Fogg Art Museum, and Edward Waldo Forbes, its director from 1909 to 1944.
Gettens and Stout co-authored Painting Materials: A Short Encyclopaedia in 1942, reprinted in 1966.
This concept is based in part on the pioneering work by Garry Thomson CBE, and his book the Museum Environment, first published in 1978.
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