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Papers by Ysbrand Hummelen

Research paper thumbnail of Modern Art: who cares: An interdisciplinary research project and an international symposium on the conservation of modern and contemporary art

... Author: Michalski, Stefan Title Article/Chapter: "Conservation lessons from other ty... more ... Author: Michalski, Stefan Title Article/Chapter: "Conservation lessons from other types of museums and a universal database for collection preservation" Title of Source: Modern Art: Who Cares: an interdisciplinary research project and an international symposium on the ...

Research paper thumbnail of Collecting and archiving information from living artists for the conservation of contemporary art

Conservation of Easel Paintings, 2020

Research paper thumbnail of Three dimensional documentation of two dimensional works of art

Optical Methods for Arts and Archaeology, Aug 12, 2005

For archiving, art historical purposes and restoration, "two dimensional" (2-D) works o... more For archiving, art historical purposes and restoration, "two dimensional" (2-D) works of art such as paintings or photo-graphs have, in modern times, traditionally been documented using (colour) photography and/or digital imaging tech-niques. While current technology allows reproductions with high spatial and colour resolution, these techniques only document the 2-D form and colour of the surface of the object. Surfaces also have, however, three dimensional (3-D) properties which play just as important a role in determining an objects appearance and how it is perceived. Among these, surface roughness/texture and the optical properties of transparent layers are particularly important. Both determine the way light is scattered from the surface, and influence not only colour perception, but also glossiness, illusions of transparency, and depth perception. These properties are often the first to be affected before colour changes happen or are perceived in a measurable quantity. They are difficult, if not, impossible to document using current 2-D techniques, while current 3-D scanners do not have the resolution necessary to document the micro-roughness of surfaces which actually determine appearance. The Netherlands Institute of Cultural Heritage has started a multidisciplinary programme to study the effect of 3-D pro-perties of surfaces on the appearance of works of art. The combined effects of colour, roughness, and optical properties of transparent layers are being investigated in situ using standard engineering micro-roughness measurements, colour spectroscopy, and digital imaging techniques. Initial work indicates that these are excellent methods for documenting, for example, the effects of cleaning of paintings and face-mounted photographs. Combined with light scattering models, they will provide a good tool for understanding the appearance of objects, and for their conservation. Rendering models, for example, could help conservators make selections of retouching materials based on colour and texture, or varnishes based on optical properties.

Research paper thumbnail of Culture clash? Het voorwerp als trefpunt van twee culturen

A subtle and individual approach to the conservatio of ethnographic objects is strongly advocated... more A subtle and individual approach to the conservatio of ethnographic objects is strongly advocated in this article. The problem for restorers, however, is that the information needed to treat the objects in a justified was is not always available. Information about materials used and techniques are essential but also the cultural context: why and how have these materials and techniques been used. Examples of categories are given in which information on ethnographic objects important for the conservator may be classed: the material-iconological context, the significance of the colour and material form and the criteria used for style and quality. Differences may arise, often unconsciously, not only between the Western and the original notion of the objects, but also between the objects from one culture. With this information both the interpretation of the objects and the conservation method will be more subtle, which is a development advers to mass conservation.

Research paper thumbnail of Sharing Knowledge for the Conservation of Contemporary Art: Changing Roles in a Museum Without Walls?

Studies in Conservation, 2004

The production of ephemeral and conceptual works in contemporary art introduces new concepts of t... more The production of ephemeral and conceptual works in contemporary art introduces new concepts of transience, which require us to reconsider some of our common preservation strategies for museum collections. The meaning of a transitory work is often conveyed ...

Research paper thumbnail of <title>NRC's 3D technology for museum and heritage applications</title>

Optical Methods for Arts and Archaeology, 2005

Research paper thumbnail of Modern Art: Who Cares?

Studies in Conservation, 2001

Research paper thumbnail of Conservation strategies for modern and contemporary art

... 24 C r 3 2005 Lydia Shouten, A Virus of Sadness, the Virulence of Loneliness, 1990. Multimedi... more ... 24 C r 3 2005 Lydia Shouten, A Virus of Sadness, the Virulence of Loneliness, 1990. Multimedia installation. ... ' Jong Holland, 1, 2005, pp.13-20. ... New York/ Montreal, (The Solomon R. Guggenheim Foundation/ The Daniel Langlois Foundation) , www.variablemedia.net/ 2003. ...

Research paper thumbnail of The authenticity of colour, a problem of restoration in modern art

Research paper thumbnail of Towards a symmetrical approach in conservation

Research paper thumbnail of Conservation Strategies of Modern and Contemporary Art. Recent developments in the Netherlands

Since the beginning of the twentieth century, visual artists have used an increasingly varied rep... more Since the beginning of the twentieth century, visual artists have used an increasingly varied repertoire of materials and techniques. Academicism, with its strict, almost regulated technical procedures, gave way to experiment. Moreover, the optical, aesthetic and iconological qualities of the materials used in modern artists' explorations have taken on yet greater significance. Artists consciously choose their materials by virtue of these qualities. At first, the relationship between materials and artistic intentions received little attention from critics, collectors, art historians or conservators. This situation changed as it was gradually realized that the essential qualities of the materials were being ignored during conservation work: matt paintings were being varnished or impregnated with wax, while materials of iconological significance were being replaced by those which lacked any such significance.

Research paper thumbnail of Conception, Creation and Re-creation. Embodied Knowledge and the Preservation of Contemporary Art

Theory and Practice in Conservation. A Tribute to Cesare Brandi ed.J. Delgado Rodrigues and J.M. Mimoso, 2006

This paper takes a closer look at 'embodied knowledge' -knowledge which has been incorporated int... more This paper takes a closer look at 'embodied knowledge' -knowledge which has been incorporated into the body and can lead to meaningful actions to realize a concept -in the light of present-day artistic practice. It focuses in particular on the difference between the realization of artworks such as paintings and sculptures, in which the original, one-off realization and the concept coincide, and of temporary installations and replaceable works, which can be re-installed or replaced at a later stage. It discusses the consequences of these differences for conservation practice.

Research paper thumbnail of Modern Art: who cares: An interdisciplinary research project and an international symposium on the conservation of modern and contemporary art

... Author: Michalski, Stefan Title Article/Chapter: &quot;Conservation lessons from other ty... more ... Author: Michalski, Stefan Title Article/Chapter: &quot;Conservation lessons from other types of museums and a universal database for collection preservation&quot; Title of Source: Modern Art: Who Cares: an interdisciplinary research project and an international symposium on the ...

Research paper thumbnail of Collecting and archiving information from living artists for the conservation of contemporary art

Conservation of Easel Paintings, 2020

Research paper thumbnail of Three dimensional documentation of two dimensional works of art

Optical Methods for Arts and Archaeology, Aug 12, 2005

For archiving, art historical purposes and restoration, "two dimensional" (2-D) works o... more For archiving, art historical purposes and restoration, "two dimensional" (2-D) works of art such as paintings or photo-graphs have, in modern times, traditionally been documented using (colour) photography and/or digital imaging tech-niques. While current technology allows reproductions with high spatial and colour resolution, these techniques only document the 2-D form and colour of the surface of the object. Surfaces also have, however, three dimensional (3-D) properties which play just as important a role in determining an objects appearance and how it is perceived. Among these, surface roughness/texture and the optical properties of transparent layers are particularly important. Both determine the way light is scattered from the surface, and influence not only colour perception, but also glossiness, illusions of transparency, and depth perception. These properties are often the first to be affected before colour changes happen or are perceived in a measurable quantity. They are difficult, if not, impossible to document using current 2-D techniques, while current 3-D scanners do not have the resolution necessary to document the micro-roughness of surfaces which actually determine appearance. The Netherlands Institute of Cultural Heritage has started a multidisciplinary programme to study the effect of 3-D pro-perties of surfaces on the appearance of works of art. The combined effects of colour, roughness, and optical properties of transparent layers are being investigated in situ using standard engineering micro-roughness measurements, colour spectroscopy, and digital imaging techniques. Initial work indicates that these are excellent methods for documenting, for example, the effects of cleaning of paintings and face-mounted photographs. Combined with light scattering models, they will provide a good tool for understanding the appearance of objects, and for their conservation. Rendering models, for example, could help conservators make selections of retouching materials based on colour and texture, or varnishes based on optical properties.

Research paper thumbnail of Culture clash? Het voorwerp als trefpunt van twee culturen

A subtle and individual approach to the conservatio of ethnographic objects is strongly advocated... more A subtle and individual approach to the conservatio of ethnographic objects is strongly advocated in this article. The problem for restorers, however, is that the information needed to treat the objects in a justified was is not always available. Information about materials used and techniques are essential but also the cultural context: why and how have these materials and techniques been used. Examples of categories are given in which information on ethnographic objects important for the conservator may be classed: the material-iconological context, the significance of the colour and material form and the criteria used for style and quality. Differences may arise, often unconsciously, not only between the Western and the original notion of the objects, but also between the objects from one culture. With this information both the interpretation of the objects and the conservation method will be more subtle, which is a development advers to mass conservation.

Research paper thumbnail of Sharing Knowledge for the Conservation of Contemporary Art: Changing Roles in a Museum Without Walls?

Studies in Conservation, 2004

The production of ephemeral and conceptual works in contemporary art introduces new concepts of t... more The production of ephemeral and conceptual works in contemporary art introduces new concepts of transience, which require us to reconsider some of our common preservation strategies for museum collections. The meaning of a transitory work is often conveyed ...

Research paper thumbnail of <title>NRC's 3D technology for museum and heritage applications</title>

Optical Methods for Arts and Archaeology, 2005

Research paper thumbnail of Modern Art: Who Cares?

Studies in Conservation, 2001

Research paper thumbnail of Conservation strategies for modern and contemporary art

... 24 C r 3 2005 Lydia Shouten, A Virus of Sadness, the Virulence of Loneliness, 1990. Multimedi... more ... 24 C r 3 2005 Lydia Shouten, A Virus of Sadness, the Virulence of Loneliness, 1990. Multimedia installation. ... ' Jong Holland, 1, 2005, pp.13-20. ... New York/ Montreal, (The Solomon R. Guggenheim Foundation/ The Daniel Langlois Foundation) , www.variablemedia.net/ 2003. ...

Research paper thumbnail of The authenticity of colour, a problem of restoration in modern art

Research paper thumbnail of Towards a symmetrical approach in conservation

Research paper thumbnail of Conservation Strategies of Modern and Contemporary Art. Recent developments in the Netherlands

Since the beginning of the twentieth century, visual artists have used an increasingly varied rep... more Since the beginning of the twentieth century, visual artists have used an increasingly varied repertoire of materials and techniques. Academicism, with its strict, almost regulated technical procedures, gave way to experiment. Moreover, the optical, aesthetic and iconological qualities of the materials used in modern artists' explorations have taken on yet greater significance. Artists consciously choose their materials by virtue of these qualities. At first, the relationship between materials and artistic intentions received little attention from critics, collectors, art historians or conservators. This situation changed as it was gradually realized that the essential qualities of the materials were being ignored during conservation work: matt paintings were being varnished or impregnated with wax, while materials of iconological significance were being replaced by those which lacked any such significance.

Research paper thumbnail of Conception, Creation and Re-creation. Embodied Knowledge and the Preservation of Contemporary Art

Theory and Practice in Conservation. A Tribute to Cesare Brandi ed.J. Delgado Rodrigues and J.M. Mimoso, 2006

This paper takes a closer look at 'embodied knowledge' -knowledge which has been incorporated int... more This paper takes a closer look at 'embodied knowledge' -knowledge which has been incorporated into the body and can lead to meaningful actions to realize a concept -in the light of present-day artistic practice. It focuses in particular on the difference between the realization of artworks such as paintings and sculptures, in which the original, one-off realization and the concept coincide, and of temporary installations and replaceable works, which can be re-installed or replaced at a later stage. It discusses the consequences of these differences for conservation practice.