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The information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described.
Abbott, J. and G. D. Smith. 2009. The role of static charge in dirt accumulation on painted surfaces. Poster presented at AIC Annual General Meeting, May 19–22, Los Angeles, CA. 
Ackroyd, P. 2010. Retouching media at the National Gallery, London, since the nineteenth century. In Mixing and matching: Approaches to retouching paintings, eds. R. Ellison, P. Smithen, and R. Turnbull. London: Archetype Publications.
Althöfer, H. 2002. The question of in-painting in pictorial restoration. I Talenti 11, Casa Editrice. Padua, Italy.
American Egg Board. www.aeb.org
American Institute for Conservation of Historic and Artistic Works. Code of ethics and Guidelines for practice. Available: https://www.culturalheritage.org/about-conservation/code-of-ethics
American Institute for Conservation of Historic and Artistic Works and Book and Paper Group. 1994. Inpainting and design compensation: AIC paper conservation catalog. Washington, DC: Author.
Anderson, J. 1994. A “most improper picture”: Transformations of Bronzino’s erotic Allegory. Apollo 139(384):19–28.
Anonymous. 1835. Advice to proprietors, on the care of valuable pictures painted in oil, with instructions for preserving, cleaning, and restoring them when damaged or decayed. London: Sherwood, Gilbert and Piper, Wycombe, E. King.
Aronson, M. 2003. The conservation history of the Early Italian collection at Yale. In Early Italian paintings: Approaches to conservation. Proceedings of a Symposium at the Yale University Art Gallery, April 2002, ed. P. S. Garland, 30–53. New Haven and London: Yale University Press.
Arslanoglu, J. 2004. Aquazol® as used in conservation practice. Western Association for Art Conservation Newsletter 26(1):10–15.
Arslanoglu, J., and C. Tallent. 2003. Evaluation of the use of Aquazol® as an adhesive in paintings conservation. Western Association for Art Conservation Newsletter 25(2):12-18.
Ashok, R., ed. 1995. Artist’s pigments: A handbook of their history and characteristics, vol. 2. Washington, DC: National Gallery of Art.
Association des Restaurateurs d’Art et d’Arch.ologie de Formation Universitaire (ARAAFU). 2002. Visibilité de la restauration, lisibilité de l’oeuvre. Actes du 5e Colloque International de l’ARAAFU, Paris, 13–15 Juin 2002. Paris: Author.
Association of British Picture Restorers. 2000. Retouching and filling: Conference 2000, National Gallery, London. London: Author.
Avrami, E. C., R. Mason, and M. de la Torre, eds. 2000. Values and heritage conservation: Research report. Los Angeles: Getty Conservation Institute. Available: https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/valuesrpt.pdf
Baldini, U. 2001. Teoria del restauro e unità di metodologia, vol. 1. Florence: Nardini Editore. (First published in 1978.)
——— , 1997. Teoria del restauro e unità di metodologia, vol. 2. Florence: Nardini Editore. (First published in 1981.)
Baldini, U., and O. Casazza. 1982. The Crucifix by Cimabue. Issued in connection with the exhibition Cimabue, le Crucifix de Santa Croce held at the Musée du Louvre, Dec. 7, 1982-Jan. 17, 1983. Paris: Olivetti.
——— , 1983. The Crucifix by Cimabue, trans. M. Foster and T. Macklin, New York: Metropolitan Museum of Art.
Baldinucci, F. 1681. Vocabolario toscano dell’arte del disegno. Florence, Italy.
BASF. www.basf.com/resins
Bauer-Bolton, V. 2004. Should missing areas of paintings be completed and what would be the best way to do so? In Issues in the conservation of paintings, eds. D. Bomford and M. Leonard. Los Angeles: Getty Conservation Institute.
Bellori, G. B. 1731. Vita di Carlo Maratti pittore. Rome.
Bergeon, S. 1993. Quelques aspects historiques à propos de restaurer ou dérestaurer les peintures murales. In Les anciennes restaurations en peinture murale, 24–25. Paris: International Institute for Conservation of Historic and Artistic Works/Section Fran.aise.
——— , 1990. “Science et patience,” ou la restauration des peintures. Paris: Éditions de la Réunion des Museés Nationaux.
Berger, G. A. 1990. Inpainting using PVA medium. In Cleaning, retouching, and coatings: Technology and practice for easel paintings and polychrome sculpture, eds. J. Mills and P. Smith. Preprints of the Contributions to the Brussels Congress, 3–7 September, 1990. London: International Institute for Conservation of Historic and Artistic Works.
Berns, R. S. 2000. Billmeyer and Saltzman’s principles of color technology. 3rd ed. New York: John Wiley & Sons.
Berns, R. S., J. Krueger, and M. Swicklik. 2002. Multiple pigment selection for inpainting using visible reflectance spectrophotometry. Studies in Conservation 47:46–61.
Berns, R. S., and M. Mohammadi. 2007. Evaluating single- and two-constant Kubelka-Munk turbid media theory for instrumental-based inpainting. Studies in Conservation 52(4):299–314.
Bernstein, J. 2005. Mastering inpainting. Handout at June 2008 workshop and at Winterthur workshop.
Berrie, B. H. 1997. Prussian blue. In Artists’ pigments: A handbook of their history and characteristics, vol. 3, ed. A. Roy, 191–217. Washington, DC: National Gallery of Art.
——— , ed. 2007. Artists’ pigments: A handbook of their history and characteristics, vol. 4. Washington, DC: National Gallery of Art.
Bewer, F. 2002. Technical research and the care of works of art at the Fogg Art Museum (1900 to 1950). In Past practice, future prospects. The British Museum Occasional Paper No. 145, eds. A. Oddy and S. Smith, 13–18. London: British Museum.
Bomford, D. 1994. Changing taste in the restoration of paintings. In Restoration: Is it acceptable? ed. A. Oddy, 33–40. London: British Museum.
Bomford, D., J. Dunkerton, D. Gordon, and A. Roy, with contributions from J. Kirby. 1989. Art in the making: Italian painting before 1400. London: National Gallery.
Bomford, D., and M. Leonard, eds. 2004. Issues in the conservation of painting. Los Angeles: Getty Conservation Institute.
Bonsanti, G. 2003. Theory, methodology, and practical applications: Painting conservation in Italy in the twentieth century. In Early Italian paintings: Approaches to conservation. Proceedings of a symposium at the Yale University Art Gallery, April 2002, ed. P. Garland. New Haven and London: Yale University Press.
Bottari, G. G. 1754. Dialoghi sopra le tre arti del disegno. Lucca: Filippo Maria Benedini.
——— 1754–73. Lettere pittoriche. Quoted in M. G. Vaccari (1989), Restauri a Firenze nel settecento: tra teoria e prassi. Kermes 2(4):39–44.
Boyle, R. J. 2002. Synopsis: The American tempera revival. In Milk and eggs: The American revival of tempera painting 1930–1950, eds. M. Yakush et al. Chadds Ford, PA: Brandywine River Museum.
Bradley, M. C. Jr. 1950. The treatment of pictures. Cambridge, MA: Art Technology.
Braham, A. 1975. The “improvement” of “Pre-Raphaelites”: Case histories of some fifteenth-century Italian panels. Apollo 101(159):360–367.
Brandi, C. 1963. Il trattamento delle lacune e la Gestalt psychologie. In The aesthetic and historical aspects of the presentation of damaged pictures, Studies in Western Art, Acts of the Twentieth International Congress of the History of Art, Vol. 4: Problems of the 19th and 20th Centuries, ed. M. Meiss, 146–51. Princeton: Princeton University Press.
——— , 1954. l’Institut Centrale pour la Restauration d’Oeuvres d’Art à Rome. Gazettes des Beaux-Arts 43:41–52. (English translation 64–66.)
——— , 1996. Mostra dei frammenti ricostituiti di Lorenzo da Viterbo. In In Situ: La Tuscia 1946–1979; Restauri, interventi, ricordi, ed. P. Antinucci, 47–66. Viterbo: Sette Città.
——— , 1966. Restoration and conservation. In Encyclopaedia of World Art, vol. 12, 179–184. New York: McGraw-Hill.
——— , 2000. Teoria del restauro. Turin: Giulio Einaudi. (First published in 1963 by Edizioni di Storia e Letteratura, Rome.)
——— , 2005. Theory of restoration, ed. G. Basile, trans. C. Rockwell. Florence: Nardini Editore.
——— , 1996. Theory of restoration, II. In Historical and philosophical issues in the conservation of cultural heritage, eds. N. Stanley Price, M. K. Talley Jr., and A. Melucco Vaccaro. Los Angeles: Getty Conservation Institute.
Brown, A. Jean E. 2007. Postprints of the Image Re-Integration Conference, 15–17 September, 2003. Newcastle Upon Tyne, UK: Northumbria University Press.
Brown, H. 2002. On the technical side. In Milk and eggs: The American revival of tempera painting 1930–1950, eds. M. Yakush et al. Chadds Ford, PA: Brandywine River Museum.
Canadian Conservation Institute. 1994. Condition reporting, paintings part III: Glossary of terms. CCI Notes 10/11. Ottawa: Author.
Caple, C. 2000. Conservation skills: Judgment, method and decision making. London: Routledge.
Carlyle, L. 2001. The artist’s assistant. London: Archetype Publications.
Carr, D. W. and M. Leonard. 1992. Looking at paintings: A guide to technical terms. Los Angeles: J. Paul Getty Museum.
Casazza, O. 1999. Il restauro pittorico nell’unità di metodologia. Florence: Nardini Editore. (First published in 1981.)
Catalano, M. I. 1998. Brandi e il restauro: Percorsi del pensiero. Fiesole: Nardini Editore.
Cennini, Cennino d’Andrea 1933. The craftsman’s handbook (Il libro dell’arte), transl. by D. V. Thompson Jr. New Haven: Yale University Press. (Reprint of the English translation, New York: Dover Publications, 1960.)
Christiansen, K. 2003. The truth, half-truth, and falsehood of restoration. In Early Italian paintings: Approaches to conservation. Proceedings of a Symposium at the Yale University Art Gallery, April 2002, ed. P. S. Garland, 71–81. New Haven and London: Yale University Press.
Chui, T. T., B. Thill, and W. J. Fairchok. 1986. Poly(2-ethyl-2-oxazoline): A new water and organic soluble adhesive. In Water soluble polymers, advances in chemistry series, vol. 213, ed. J. E. Glass, 426–33. Washington, DC: American Chemical Society.
Church, A. H. 1901. The chemistry of paints and painting. 3rd ed. London: Seely, Service and Co.
Ciatti, M. 2003. Approaches to retouching and restoration: Pictorial restoration in Italy. In Early Italian paintings: Approaches to conservation. Proceedings of a symposium at the Yale University Art Gallery, April 2002, ed. P. S. Garland. New Haven: Yale University Press.
——— , 1990. Cleaning and retouching: An analytical review. In Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture. Preprints of the Contributions to the Brussels IIC Congress, 3–7 September, 1990, eds. J. S. Mills and P. Smith, 59–62. London: International Institute for Conservation.
Ciatti, M., and M. P. Mannini, eds. 2001. Giovanni da Milano: Il polittico di Prato. Arte e restauri no. 2.
Clavir, M. 1998. The social and historic construction of professional values in conservation. Studies in Conservation 43(1):1–8.
Clemons, D. 2008. Casein: History, use, and resources. Available: www.dbclemons.com/casein1.htm
Cohn, M. 1977. Wash and gouache. Cambridge, MA: Fogg Art Museum and American Institute of Conservation.
Concise Oxford Dictionary of Art Terms. www.oxfordartonline.com
Conservation and Art Materials Encyclopedia Online (CAMEO). http://cameo.mfa.org
Conti, A. 2007. History of the restoration and conservation of works of art, trans. H. Glanville. Oxford: Butterworth-Heinemann.
——— , 2001. Manuale di restauro. Turin: Einaudi.
——— , 1988. Storia del restauro o della conservazione delle opere d’arte. Milan: Electa.
——— , 2002. Storia del restauro e della conservazione delle opere d’arte. Milan: Electa. (First published in 1973.)
——— , 1981. Vicende e cultura del restauro. In Storia dell’Arte Italiana 10, Part 3: Situazioni, Momenti e Indagini, Vol. 3: Conservazione, Falso, Restauro, ed. F. Zeri, 39–112. Turin: Einaudi.
Contreras de Berenfeld, C. 2008. The impact of Brandi’s restoration theory in the United States, with a focus on George Stout. In Cesare Brandi oggi, Prime ricognizioni. Atti del Convegno, May-June 2007. Rome: Istituto Centrale del Restauro.
Crook, J., and T. Learner. 2000. The impact of modern paints. New York: Watson-Guptill.
Daly Hartin, D. 1990. An historical introduction to conservation. In Shared responsibility: Proceedings of a seminar for curators and conservators, eds. B. Ramsay-Jolicoeur and I. N. M. Wainwright, 30–38. Ottawa: National Gallery of Canada.
Darrow, E. 2002. Necessity introduced these arts: Pietro Edwards and the restoration of the public pictures of Venice, 1778–1819. In Past Practice, Future Prospects, The British Museum Occasional Paper No. 145, eds. A. Oddy and S. Smith, 61–66. London: British Museum.
——— , 2000. Pietro Edwards and the restoration of the public pictures of Venice 1778–1819: Necessity introduced these arts. PhD dissertation, University of Washington.
Davidson, A. 2002. The Penguin companion to food. New York: Penguin.
De Bruyn Kops, C. J. 1975. De Zeven Werken van Barmhartigheid van de Meester van Alkmaar gerestaureerd. Bulletin van het Rijksmuseum 23(4):203–206. (English summary 249–251.)
De la Rie, E. R. 1988. Photochemical and thermal degradation of films of dammar resin. In Studies in Conservation 33:53–70.
De la Rie, E. R., and A. M. Shedrinsky. 1989. The chemistry of ketone resins and the synthesis of a derivative with increased stability and flexibility. Studies in Conservation 34(1):9–19.
De la Rie, E. R., S. Q. Lomax, M. Palmer, L. D. Glinsman, and C. A. Maines. 2000. An investigation of the photochemical stability of urea-aldehyde resin retouching paints: Removability tests and color spectroscopy. In A. Roy and P. Smith (Eds.), Tradition and innovation: Advances in conservation, contributions to the Melbourne congress, 10–14 October 2000. London: International Institute for Conservation of Historic and Artistic Works.
De la Torre, M., ed. 2002. Assessing the values of cultural heritage. Los Angeles: Getty Conservation Institute. Available: https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/assessing.pdf
Derrick, M. 2008. Analysis summary. Project number 2008-181. Unpublished. Boston: Museum of Fine Arts.
Dietemann, P. 2003. Towards more stable natural resin varnishes for paintings: The aging of triterpenoid resins and varnishes. Dissertation submitted to the Swiss Federal Institute of Technology, Zurich.
Doerner, M. 1934. The materials of the artist and their use in painting, trans. E. Neuhaus. New York: Harcourt, Brace and Co..
——— , 1962. The materials of the artist and their use in painting, trans. E. Neuhaus. New York: Harcourt, Brace and Worl. (Originally published in 1922 as Malmateriel und Seine Verwendung im Bilde, Berlin.)
Dossie, R. 1758. The handmaid to the arts, vol 1. London: J. Nourse.
Dulac, M. W. 1969. Raymond Katz: Master of mixed techniques. American Artist 33(1):58–68.
Dunkerton, J. 2003. The restoration of Crivelli’s The Dead Christ Supported by Two Angels. In Early Italian paintings: Approaches to conservation. Proceedings of a Symposium at the Yale University Art Gallery, April 2002, ed. P. S. Garland, 238–246. New Haven and London: Yale University Press.
Dwyer Modestini, D. 2003. Approaches to retouching and restoration: Imitative restoration. In Early Italian paintings: Approaches to conservation. Proceedings of a Symposium at the Yale University Art Gallery, April 2002, ed. P. S. Garland, 208–224. New Haven and London:Yale University Press
Dykstra, S. W. 1996. The artist’s intentions and the intentional fallacy in fine arts conservation. Journal of the American Institute for Conservation, 35(3):197-218.
Eastaugh, N., V. Walsh, T. Chaplin, and R. Siddall. 2004. Pigment compendium: A dictionary of historical pigments. Oxford: Elsevier Butterworth-Heinemann.
——— 2004. Pigment compendium: Optical microscopy of historical pigments. Oxford: Elsevier Butterworth-Heinemann.
Ellison, R., P. Smithen, and R. Turnbull, eds. 2010. Mixing and matching: Approaches to retouching paintings. London: Archetype Publications.
Émile-Mâle, G. 1965. Jean-Baptiste-Pierre Le Brun (1748–1813): Son rôle dans l’histoire de la restauration des tableaux du Louvre, vol. 8, 371–417. Paris and Ile-de-France: Mémoires publies par la Federation des Sociétés Historiques et Archeologiques de Paris et de l’Ile-de-France.
——— 1976. The restorer’s handbook of easel painting, trans. J. A. Underwood. New York: Van Nostrand Reinhold Company.
Epley, B. 1997. The history of synthetic resin varnishes. In Painting conservation catalog: Varnishes and surface coatings, vol. 1, 35–50. Washington, DC: Paintings Specialty Group of the American Institute for Conservation.
Feller, R. L. 1977. Conservators advise artists. In Art Journal 39(1):37–39.
——— 1978. Standards in the evaluation of thermoplastic resins. In Preprints of the 5th triennial meeting of the ICOM committee for conservation, Zagreb, 1–8 October 1978. Paris: International Council of Museums,78/16/4.
——— 1959–1966. The quarterly reports of the National Gallery of Art for the Mellon Institute, vols. 4–7. Pittsburg, PA: Mellon Institute.
Feller, R. L., ed. 1986. Artists’ pigments: A handbook of their history and characteristics, vol. 1. Washington, DC: National Gallery of Art.
Feller, R. L., N. Stolow, and E. H. Jones. 1971. On picture varnishes and their solvents. Cleveland: Press of Case Western Reserve.
——— 1985. On picture varnishes and their solvents. Revised and enlarged ed. Washington, DC: National Gallery of Art.
Fisher, E. 2005. Egg tempera retouching conference: UKIC Paintings Section. Conservation News 97. London: United Kingdom Group of the Institute for Conservation of Historic and Artistic Works.
Fitzhugh, E. F., ed. 1997. Artists’ pigments: A handbook of their history and characteristics, vol. 3. Washington, DC: National Gallery of Art.
Fly, L. E., and J. Klaar. 2004. Loss compensation for gilded surfaces using wax-resin fills. Postprints from the ANAGPIC Student Conference, Ottawa, Canada, April 2003. Kingston, Ontario: Queens University.
Forni, U. 1866. Manuale del pittore restauratore, Florence: Successori Le Monnier.
Frey, F., D. Heller, D. Kushel, T. Vitale, and G. Weaver. 2008. AIC guide to digital photography and conservation documentation, ed. Jeffrey Warda. Washington, DC: American Institute for Conservation of Historic and Artistic Works.
Friedländer, M. J. 1996. On restorations. In Historical and philosophical issues in the conservation of cultural heritage, eds. N. Stanley Price, M. K. Talley Jr., and A. Melucco Vaccaro. Los Angeles: Getty Conservation Institute.
Gamblin. https://gamblincolors.com/gamblin/
Garland, P. 2003. Recent solutions to problems presented by the Yale collection. In Early Italian paintings: Approaches to conservation. Proceedings of a symposium at the Yale University Art Gallery, April 2002. New Haven, CT, and London: Yale University Press.
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Goetghebeur, N. 1990. Preliminary study and approach to the cleaning of The Raising of the Cross by Peter Paul Rubens in Antwerp Cathedral. In Cleaning, retouching and coatings: Preprints of the contributions to the 1990 IIC Congress, 3–7 September, Brussels.
Goethe, W. 1790. Early paintings and recent restorations in Venice. In Goethe on art, ed. J. Gage. Berkeley: University of California Press.
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——— MSA Conservation Paints, Product Information Sheet. https://goldenpaints.com/technicalinfo/technicalinfo_msapaint
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Gordon, D. 1993. Making and meaning: The Wilton Diptych. London: National Gallery.
Gordon, E. 2000. A comparative study of Italian retouching techniques. AIC Paintings Specialty Group Postprints, Philadelphia. Washington, DC: American Institute for Conservation of Historic and Artistic Works.
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——— 2006. The painter’s handbook: A complete reference. 2nd ed. New York: Watson-Guptill.
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Graziosi, F. 2008. Le alterazioni dei materiali per la reintegrazione pittorica dei dipinti su tela e su tavola. Unpublished thesis. Istituto Centrale per il Restauro, 57° Corso.
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Harley, R. D. 1982. Artists’ pigments c. 1600–1835: A study in English documentary sources. Boston: Butterworth-Heinemann.
——— 2001. Artists’ pigments c. 1600–1835: A study in English documentary sources. London: Archetype Publications.
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——— , 1963. Taste and science in the presentation of damaged paintings. In The aesthetic and historical aspects of the presentation of damaged pictures, Studies in Western Art, Acts of the Twentieth International Congress of the History of Art, Vol. 4: Problems of the 19th and 20th Centuries, ed. M. Meiss, 139–45. Princeton: Princeton University Press.
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——— , 1995. The renovation of paintings in Tuscany, 1250–1500. New York: Cambridge University Press.
——— , 1999. The restoration of the Early Italian Primitives during the 20th century: Valuing art and its consequences. Journal of the American Institute for Conservation 38(2):144–61.
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——— 1977. Helmut Ruhemann’s inpainting techniques. Journal of the American Institute for Conservation 17(1):1–8.
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——— 2010. The art of tempera retouching. In Mixing and matching: Approaches to retouching paintings, eds. R. Ellison, P. Smithen, and R. Turnbull. London: Archetype Publications.
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——— 1827–30. Ueber restauration alter Oelgemälde, Vols. 1 and 3. Heidelberg: Christian Friedrich Winter.
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——— 1986. Zinc white. In Artists’ pigments: A handbook of their history and characteristics, Vol. 1. Washington, DC: National Gallery of Art.
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——— 1970. Materials and methods of painting. London: Oxford University Press.
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Leonard, M. 2003. Artist/conservator materials: The restoration of a Predella panel by Luca di Tomme. In Early Italian paintings: Approaches to conservation. Proceedings of a symposium at the Yale University Art Gallery, ed. P. S. Garland. New Haven: Yale University Press.
——— 2003. The artist’s voice. In Personal viewpoints: Thoughts about paintings conservation, ed. M. Leonard. Los Angeles: Getty Conservation Institute.
Leonard, M., J. Whitten, R. Gamblin, and E. René de la Rie. 2000. Development of a new material for inpainting. In Tradition and innovation: Advances in conservation, contributions to the Melbourne congress, 10–14 October 2000, eds. A. Roy and P. Smith. London: International Institute for Conservation of Historic and Artistic Works.
Leto-Fulton, E. 2000. The conservation and technical study of Hercules by Piero Della Francesca. AIC Paintings Specialty Group Postprints, American Institute for Conservation 28th Annual Meeting, Philadelphia.
Levi, D. 1988. Cavalcaselle, il pioniere della conservazione dell’arte italiana. Turin: Giulio Einaudi.
Lewis, M. 1995. The use of poly(2-ethyl-2-oxazoline) as an inpainting medium. Student project paper. Winterthur, DE: Winterthur Art Conservation Program.
Lewis, M., and R. Wolbers. 1995. Evaluation of the suitability of poly(2-ethyl-2-oxazoline) as a potential retouching medium for easel paintings. Presentation text, unpublished. 23rd Annual meeting of the American Institute for Conservation, St. Paul, Minnesota. Washington, DC: Paintings Specialty Group.
Lignelli, T. 2002. Approaches to retouching and restoration: Italian retouching methods. In Early Italian paintings: Approaches to conservation. Proceedings of a symposium at the Yale University Art Gallery, April 2002, ed. P. S. Garland. New Haven: Yale University Press.
——— 1997. Use of a rigatino inpainting technique for compensation of losses in panel paintings: A case study. AIC Paintings Specialty Group Postprints, San Diego, CA, 96–105.
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