Painting conservation studio
Publications
Investigating Pieter Lastman's Paris and Oenone (c. 1610),
from the High Museum of Art collection
 In an insightful article authored by Katya Birukova, readers are invited into the intricate world of art conservation through the treatment of Pieter Lastman's early 17th-century painting, "Paris and Oenone."
 Katya's narrative not only meticulously details the investigative processes into the materials and techniques utilized by Lastman, a seminal figure in art history and mentor to Rembrandt Van Rijn, but also emphasizes the collaborative efforts between her and the High Museum of Art.
 Here, we feature an exclusive video excerpt where Katya Birukova provides a fascinating insight into the conservation of Pieter Lastman's historic painting, "Paris and Oenone." Lastman, known as a teacher of Rembrandt Van Rijn, is celebrated for his influential contributions to art history. In this video, Katya focuses on the strategic process behind selecting areas for pigment sampling, articulating her goals and the detailed care that underscore the conservation effort.
This snippet offers a unique perspective on the intricate work involved in art preservation. The fuller video presentation is available during the painting's exhibition at The High Museum of Art.
Orthodox Icons | materials, techniques, and approaches to conservation
This article delves into the rich history and conservation of Orthodox icons, tracing their origins to early Christianity and detailing the evolution of their artistic and spiritual significance. It highlights how icons, originally simple religious images, became complex symbols of faith, influenced heavily by Byzantine techniques and the Eastern Orthodox Church's doctrines during the Great Schism.
The discussion extends to the materials and methods used in creating Eastern European icons, including the support from wood panels, preparatory layers, underdrawings, paint layers, and protective varnishes. Special attention is given to the unique characteristics that distinguish Eastern European iconography, such as the use of subdued color palettes and expressive emotional representation, differentiating it from its Byzantine predecessors.
A case study from the Saint Petersburg Stieglitz State Academy of Art and Design underscores the practical challenges of conserving a 19th-century icon, "Holy Image of the Saviour Not Made by Hands." This section outlines the technical difficulties encountered due to deterioration over time and the innovative approaches adopted by conservationists to restore and preserve the icon for future generations. Through this focused examination, the article sheds light on the meticulous and thoughtful processes involved in the preservation of these culturally and spiritually rich artworks.