Mixing and Matching

Approaches to Retouching Paintings

Edited by
Rebecca Ellison, Patricia Smithen and Rachel Turnbull

WA1 Archetype
J t J Publications
in association with
-_^, THE BRITISH
sM | ASSOCIATION
the Icon Paintings Group THE INSTITUTE OF CONSERVATION OF PAINTINGS
CONSERVATOR-

and the British Association of Paintings Conservator-Restorers (BAPCR) RESTORERS

 Contents

Foreword vii
Acknowledgements ix

Section One: Egg tempera retouching

Introduction 3
Rachel Turnbull

The history of egg tempera as a retouching medium 5

Ann Massing

The composition and chemistry of eggs and egg tempera 18

Alan Phenix

The art of tempera retouching 36

Mary Kempski

Section Two: Resin retouching

Introduction 49
Rebecca Ellison

Retouching media used at the National Gallery, London, since the nineteenth century 51
Paul Ackroyd

The state of research into retouching resins 61

Spike Bucklow

Properties of pigments, retouching media and their use 66

Peter Koneczny
CONTENTS

Retouching with a PVA resin medium 74

Sarah Cove

Retouching with Paraloid B-72 87

Kate Lowry

Retouching with Gamblin conservation colours 92

Jill Dunkerton

Section Three: Retouching complex surfaces

Introduction 103
Patricia Smithen

Colour theory and the application of a portable spectrophotometer for retouching 105
Stig Evans and Andrew Hanson

An unusual case of integration and its solution 116

Oriana Sartiani, Leonardo Severini, Paolo Roma and Marco Ciatti

Pushing the borders of retouching and reconstruction: can enough ever be too much? 125
Laurent Sozzani

An introduction to B72 Retouching Gels 142

Peter Koneczny

Properties of B72 Retouching Gels and their use 148

Peter Koneczny

Texturing fills using a silicone mould 159

Simon Folkes and Sophie Reddington

Retouching media for acrylic paintings 163

Shelley Sims, Maureen Cross and Patricia Smithen