 | ||||||||||||||
 |  |  |  |  |  | | ||||||||
 | ||||||||||||||
 |  | |||||||||||||
 | | | | | | | | | | | | | | |
Elizabeth Kendall is the founder and chief conservator of Parma Conservation. She is also a Professional Associate with the American Institute for Conservation of Historic and Artistic Works (AIC). Her career as a conservator began in Italy, where she practiced conservation for fifteen years. With particular expertise in Old Masters' paintings and frescoes, Elizabeth has been conserving artwork for over twenty-five years. After receiving her Bachelors in Art History, Elizabeth set off for conservation studies in Florence, Italy. There, she combined her talents in both science and art history at the Instituto per L'Arte e Restauro. After completion, she apprenticed under Professor Edo Massini, who was the technical director for the Opificio delle Pietre Dure. Between 1985-1995, she was employed to work on several conservation projects overseen by the Italian Soprintendenza. Included among the paintings and frescoes that Elizabeth worked on in Italy, are the paintings by Velazques and Federico Barocci damaged in the 1993 Uffizi bombing; the Byzantine frescoes in the Battistero of Parma both true and 'a secco' dating from 1100 to 1400; the frescoes by Correggio in the Cupola of San Giovanni, Parma; the frescoes in Parma's Duomo by Lattanzio Gambara; paintings by Andrea del Sarto, and numerous fresco cycles in castles and villas throughout Italy. See Projects in Italy For all of these wonderful projects, Elizabeth still maintains that not one was as beautiful or challenging as her own “masterpieces”; her three daughters. HISTORY Parma Conservation, Ltd. was established in December 1998, for the conservation of historic and artistic works, with a specialization in paintings and murals. Since its founding, Parma Conservation has conserved over 200 historic murals in municipal buildings, museums, post offices, churches, and schools across the United States. Parma Conservation’s philosophy relies on scientific evaluation to determine the appropriate treatment. The artwork itself governs which conservation approach is the most conscientious, ethical and safe. SERVICES AND TECHNOLOGY All proposed conservation methods conform to all current professional standards for safety and long-term stability. The intrinsic nature of the artwork itself guides the choice in both method and materials. It is essential for conservation methods to be conscientious, ethical, and safe for both the artwork and the conservator. Examinations/Assessments Both qualitative and quantitative measurements are conducted to determine the approprate treatment for a particular artwork. Examinations are conducted via non-invasive means and focus on visual inspection, as well as materials testing. Documentation Conservation inherently requires observation and documentation of the subject work. Documentation may include evidence of past unrecorded treatments, as well as written and photographic documentation of current treatments. Stabilization Structural stabilization, as required by structural deficienceis or other previous conditions, will be conducted according to the needs of the artwork. Any adhesives consolidants, or compensating materials used are to be compatible and fully reversible. It is important that all stabilizing materials react homogeneously with the artwork and with all environmental factors the artwork encounters. Surface Cleaning Parma's methodology is based on reagents and techniques that will remove foreign material while protecting the original surface. Cleaning systems are designed specifically to meet the cleaning requirements of each particular artwork. Scope of Technology Parma has adopted cleaning technology developed by leading conservation scientists in the United States and abroad. However, it must be pointed out that no one methodology or treatment science can replace the responsibility of the conservator to uphold the ethical standards for conserving cultural property. Though certain cleaning technology can provide greater predictability and control to the conservator, it must also be emphasized that conservation relies heavily on empirical data, where professional experience is critical. The science of the particular artwork, its deficiencies, and its merits, and the unique characteristics of the particular artwork are always guiding parameters in both the choice and execution of safe and appropriate materials and techniques. Finishing Procedures Any pre-existing paint chip-losses or scratches in the surface may be filled with a compensating filling material. Filling materials must be compatible, react homogeneously with the artwork, and also be 100% reversible. Varnish In order to protect from long-term exposure to airborne pollutants and ultraviolet light, certain types of artwork may be varnished. Conservation varnishes are chosen for their optical properties and ease of reversibility. Generally they are low molecular weight, non-yellowing, synthetic polymers that can include an ultraviolet light stabilizer. Conservation varnishes may also be custom blended to obtain the appropriate luster for viewing an artwork. Conservation Pigments Color compensation to pre-existing surface abrasions and to any filled paint-chip losses will be made after the mural is varnished. Conservation colors (varnish pigments) are used for their reversibility, light-fastness, and aging characteristics. Our in-painting is very technical and controlled, limited only to the areas of actual paint loss. | |
| |
 | ||||||||||
 | | |||||||||
 | | |||||||||
 | ||||||||||
 |
Parma Conservation, located in Chicago, is one of the country's leading resources for the conservation of paintings and murals. |  | ||||||||
 | ||||||||||
 | ||||||||||
 | ||||||||||
about parma | laboratory | murals | paintings | contact | home | ||||||||||
 | ||||||||||
| | | | | | | | | | |
website copyright © 1998-2008, all rights reserved, Parma Conservation, Ltd. | |
| |