Omtale fra Nielsen Bookdata
The heyday of detaching and transferring wallpaintings is over, a result of shifting values in conservation and the development of solutions for in situ treatment. Transfers were carried out in the past for a number of reasons - some of which may seem frivolous or unethical today. The frequency with which transferring was resorted to reflects the prevailing attitudes and limited treatment methods at that time. The transfer of a wall painting is a difficult and risky operation that affects both the material characteristics and the incorporeal qualities of the painting. Numerous examples of the negative effects of this procedure have accumulated in many countries over the centuries and today, we are left with a vast collection of misplaced, often homeless, paintings, many of which are in dire need of treatment. This volume presents a detailed study of the transferred wall paintings in Denmark. However, the material and case studies presented contain information of interest to all conservators and others working with wall paintings.While setting the historical development and theoretical aspects in context, the author also addresses in detail the various techniques and materials used in the course of the operations. In addition, the consequences of this drastic treatment are presented and illustrated by examples of damage. Recommendations for future treatments are discussed and the text is supplemented with a survey of wall painting transfers in Denmark, which has been included on a CD ROM.

Table of contents
1. The Transfer of Wall Paintings as a Treatment Method Theoretical considerations and consequences Physical and chemical alterations Non-physical alterations The generation of collectors' items Exhibitions and homeless transfers Permanent museum collections Attitudes to the transfer of wall paintings 2. Wall Painting Transfer Techniques Phase I - Preparation The principle of using glues of varying solubility parameters Preparation of the surface The facing Counter-moulds Phase 2 - Detachment Detachment by the stacco a masselto method Detachment by the stacco method Detachment by the strappo method Phase 3 - Post-detachment Treatment of the back of the detached painting The intervention layer Mounting on movable supports Removal of the facing Installation and exposition of transfers on movable supports Mounting detached paintings in situ 3. The Development of Transfer Techniques in Denmark Murals removed from the wall by sawing Execution of the first strappo in Denmark Transfer of the paintings from Lund Cathedral The dissemination of Risebye's technique through his students Transfers executed by Risebye between 1942 and 1944 The transfer of Sonne's frieze in 1951-58 The transfer of the frescoes in the Central Library in Hjorring The redevelopment project in Copenhagen The relocation of Steffanoni's transfer to Klaksvig Transfers executed by Egmont Lind Modern transfer techniques Transfer statistics Overview 4. Reasons for the Transfer of Wall Paintings in Denmark Transferred originals replaced by in situ replicas Major structural repair, or demolition of the building Poor condition of the painting Salt damage Poor adhesion of plaster Severe fragmentation Damage resulting from previous treatments Detachment to reveal an underlying painting Detachment due to inconvenient locations Overview 5. Methods and Materials Used for Transferring Wall Paintings in Denmark Surface treatment prior to application of facing Impregnation Cleaning Facing adhesives Facing carriers Detachment by the strappo method Detachment by the stacco method Detachment by the stacco a massello method Size of the detached fragments Treatment of the back Problems with deformation after detachment Impregnation of the back Backing Lining Intervention layers Movable supports Exhibition of movable supports Artificial boundaries of transfers Mounting of movable transfers in situ In-situ mounting of non-movable transfers Impregnation of the paint layer after completion of the transfer Overview 6. The Condition of the Transferred Wall Paintings in Denmark The condition survey Types of damage noted Loss of paint layer Alteration of the surface configurations False texture imprints in the paint layer Residual facing adhesive Micro-organic growth Tone alterations and discoloration Superficial cracks Salt efflorescence Deformation of canvas supports Poorly constructed honeycomb supports Overview 7. Focus Areas for Future Projects Removal of hygroscopic facing adhesives Effective intervention layers 3-D digitising and stereolithography for the construction of supports Further treatment of transferred wall paintings Treatment of transfers mounted on canvas with oil casemate Treatment of transfers mounted in situ with oil casemate Residual facing adhesive The separation of the painting from the support Restoration of lost optical properties Restoration of lost surface configuration Conclusion Appendix Painting techniques of the transferred decorations in Denmark Historical background for wall paintings in Denmark Medieval wall paintings Frescoes