After painting conservators were recruited by the Musées Nationaux in 1935, a vast campaign of restoration of paintings, for the most part belonging to the Musée du Louvre, took place. More than 600 paintings were restored between 1936 and 1950 in the new workshop set up in the Louvre where the restorers Lucien Aubert, Pierre Michel, Pierre Paulet, René Longa, Edgard Aillet and Georges Zezzos worked under the supervision of Jean-Gabriel Goulinat. The present article aims to analyze the activity developed during this period exploring its origins at the end of the 1920s. The needs of the Musées Nationaux in terms of the organisation and practice of restoration, which this workshop met, are thus illustrated by the initiatives implemented by an...
Le début du XIXe siècle fut une période charnière pour l’histoire de la formation des restaurateurs ...
Founded by Carlos Mainini in 1931, the Laboratory of the Louvre museum was in the wake of a long tra...
This article focuses on the gap existing between the restoration of a painting and its presentation ...
Préoccupés par la conservation de leurs collections de peintures, les amateurs d’art parisiens font ...
En Prusse, dans les collections royales, l'attention portée à la conservation et à la restauration d...
The National Museum of Antiquities (MAN) was created at the instigation of Emperor Napoleon Ill in 1...
Controversy and politics. The reception of paintings restored in Paris after confiscation (1795-1815...
The National Museum of Antiquities (MAN) was created at the instigation of Emperor Napoleon III in 1...
The Centre national des Arts plastiques, the national centre for the plastic arts, is the heir to a ...
Le musée des Antiquités nationales (MAN) a été créé sous l'impulsion de l'Empereur Napoléon III en 1...
The present article proposes to analyse the ideological construction of the Musée européen des copie...
Historically in France, conservation-restoration has sought its identity and function in institution...
En 1809, une multitude de tableaux issus de la galerie impériale de Vienne fut saisie au château du ...
At the end of World War II, the Domain of Versailles is in critical condition, the cost of the resto...
La restauration des peintures italiennes du Louvre, après les spoliations napoléoniennes, a reçu une...
Le début du XIXe siècle fut une période charnière pour l’histoire de la formation des restaurateurs ...
Founded by Carlos Mainini in 1931, the Laboratory of the Louvre museum was in the wake of a long tra...
This article focuses on the gap existing between the restoration of a painting and its presentation ...
Préoccupés par la conservation de leurs collections de peintures, les amateurs d’art parisiens font ...
En Prusse, dans les collections royales, l'attention portée à la conservation et à la restauration d...
The National Museum of Antiquities (MAN) was created at the instigation of Emperor Napoleon Ill in 1...
Controversy and politics. The reception of paintings restored in Paris after confiscation (1795-1815...
The National Museum of Antiquities (MAN) was created at the instigation of Emperor Napoleon III in 1...
The Centre national des Arts plastiques, the national centre for the plastic arts, is the heir to a ...
Le musée des Antiquités nationales (MAN) a été créé sous l'impulsion de l'Empereur Napoléon III en 1...
The present article proposes to analyse the ideological construction of the Musée européen des copie...
Historically in France, conservation-restoration has sought its identity and function in institution...
En 1809, une multitude de tableaux issus de la galerie impériale de Vienne fut saisie au château du ...
At the end of World War II, the Domain of Versailles is in critical condition, the cost of the resto...
La restauration des peintures italiennes du Louvre, après les spoliations napoléoniennes, a reçu une...
Le début du XIXe siècle fut une période charnière pour l’histoire de la formation des restaurateurs ...
Founded by Carlos Mainini in 1931, the Laboratory of the Louvre museum was in the wake of a long tra...
This article focuses on the gap existing between the restoration of a painting and its presentation ...