Conservation Work

The Conservation Department is responsible for preserving the Munch Collection and the Rolf E. Stenersen's Collection.

The Conservation Department at the Munch Museum is responsible for preserving the Munch Collection and the Rolf E. Stenersen's Collection. Combined, the collections consist of a multitude of different materials and techniques. The research and conservation of these works is the conservators' most important task.

The Conversation Department has expertise in the areas of painting and paper. Eight painting conservators, three conservators of works on paper, and four art technicians, one of which is an expert on paper, are full-time members of the department's staff.

Examinations and analyses are the fundamental methods that contribute to determining the condition of a work of art. Technical analyses can identify a work's material components and technique, and is an important tool in planning an appropriate conservation treatment.

The museum's Conservation Department conducts analyses of original micro-samples of paint with Fourier transform infrared spectroscopy, gas chromatography and Raman spectroscopy, among others. Another important aspect of the work is to analyse the contents and degradation of materials that have been added to the paintings during treatment, in addition to the materials that are used in frames and during storage. Once the condition of a work is established, appropriate treatment can commence.

Videos
The Scream – Handle with Care
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PUBLISHED PAPERS:

H. Deborah, S. George, J. Y. Hardeberg, J. S. Ferrer, I. C.A. Sandu: Old Man in Warnemünde (1907) colouring palette: A case study on the use of hyperspectral imaging for pigment identification, in 25th Color and Imaging Conference, September 11-15 Lillehammer 2017.  

T. Markevičius, T. Syversen, E. Chan, N. Olsson, C. Skov Hilby, R. Šimaitė, 2017: Cold, warm, warmer:  a temperature-based approach to optimize hydrogel cleaning of paper and paint surfaces by coupling Agarose and Gellan hydrogels and hydrolytic enzymes and accurate heat transfer using the IMAT carbon nanotube heater, The 18th Triennial Conference of the International Council of Museums Committee for Conservation (ICOM-CC), Copenhagen, 4 - 8 September 2017.

E. G. Sandbakken, 2017: Crystal formation on Edvard Munch’s Aula sketches, proceedings of FUTURAHMA – From Futurism to Classicism (1910-1922). Painting Techniques, Art History and Material Analysis, Scuola Normale Superiore di Pisa.

J.Strand Ferrer, E. S. Tveit, 2016: «Gode intensjoner og uante resultater: Konsekvenser av tidligere konserveringsbehandlinger av Edvard Munchs malerier», Norsk museumstidsskrift, årgang 2, nr. 1-2016, s. 30–43.

Barnaby D.A. Levin, Kayla X. Nguyen, Megan E. Holtz, Marcie B. Wiggins, Malcolm G. Thomas, Eva S. Tveit, Jennifer L. Mass, Robert Opila, Thomas Beebe, David A. Muller 2016: «Reverse Engineering Cadmium Yellow Paint from Munch’s “The Scream” with Correlative 3-D Spectroscopic and 4-D Crystallographic STEM” Microscopy and Microanalysis 22(S3):258-259.

F. Modugno, La Nasa J., Zanaboni M., Uldanck D., Degano I., Kutzke H., Tveit E.S., B.Topalova-Casadiego, M.P. Colombini, 2015: “Novel application of liquid chromatography/mass spectrometry for the characterization of drying oils in art: elucidation on the composition of original paint materials used by Edvard Munch”, Analytica Chimica Acta, Elsevier, vol. 896, 2015, 177–18;  

U. Plahter, B. Topalova-Casadiego, 2013: The Scream by Edvard Munch: Painting techniques and colouring materials”, The National Gallery Bulletin, London.

M. Zanaboni, M.P. Colombini, F. Modugno, E.G. Sandbakken and E. S. Tveit, 2013: "Chemical investigations of paint media in Edvard Munch's monumental sketches (1909–1926)", Proceedings from the Munch150 Conference, Munch Museum and the University of Oslo.

C.L. Aasen, L. Solheim and E.S. Tveit, 2013: "Munch Unstretched – 50 ways to hang your painting", Proceedings from the Munch150 Conference, Munch Museum and the University of Oslo.

T. Syversen, 2013: "Removing old adhesive residues from Munch's paintings – a preliminary report", Proceedings from the Munch150 Conference, Munch Museum and the University of Oslo.

E.G. Sandbakken and J. Boon, 2013: "Paint composition associated with efflorescent crystallization on the surface of The Researchers/Alma Mater, one of Munch's Aula drafts", Proceedings from the Munch150 Conference, Munch Museum and the University of Oslo.

F. Rosi, L. Cartechini, A. Romani, B.G. Brunetti, A. Sgamellotti, C. Miliani and B. Topalova-Casadiego, 2013: "MOLAB non-invasive in situ study of Edvard Munch's painting materials", Proceedings from the Munch150 Conference, Munch Museum and the University of Oslo.

J. Mass, B. Buckley, D. Carson, J. Church, M. Cotte, J. Delaney, I. Grimstad, C. Hirschmugl, A. Mehta, R. Opila and C. Patterson, 2013: "Cadmium yellow degradation mechanism in Henri Matisse's Le Bonheur de Vivre (1905–06) compared to the Munch Museum's The Scream (1910) using chemical speciation as function of depth", Proceedings from the Munch150 Conference, Munch Museum and the University of Oslo.

H. Kutzke and B. Topalova-Casadiego, 2013: "Munch's color tubes: A hidden treasure at the Munch Museum", Proceedings from the Munch150 Conference, Munch Museum and the University of Oslo.

F. Jong, 2013: "Edvard Munch's Separation: Past and present treatment", Proceedings from the Munch150 Conference, Munch Museum and the University of Oslo.

R. Belluci, C. Daffara, C. Frosini, C. Miliani, M. Patti and B. Topalova-Casadiego, 2013: "Analysis of Munch's paintings by scanning multispectral infrared reflectography: Anxiety (1894), Puberty (1894) and Vampire (1895)", Proceedings from the Munch150 Conference, Munch Museum and the University of Oslo.

B. Topalova-Casadiego, F. Jong, K. Kausland, L.K. Solheim and L.C. Aasen, 2012: "Conservation of Edvard Munch's paintings for relocation to a new building: a project in progress at the Munch Museum", Moving collections: Processes and consequences, Ed. I.A.T. Bronken, et. al., Archetype, London.

E.G. Sandbakken and E.S. Tveit, 2012: "Preserving a master: Edvard Munch & his painted sketches", Journal of Urban Culture Research, Vol. 5, pp. 86–104.

E.G. Sandbakken and E.S. Tveit, 2012: "Edvard Munch's monumental sketches (1909–1916) for the Aula of Oslo University, Norway: Conservation issues and treatments", Studies in Conservation, 57: 258 – 267, London: International Institute for Conservation of Historic and Artistic Works (ICC).

H. Kutzke and B. Topalova-Casadiego, 2012: "Exploring an artist's practice: Edvard Munch's paint tubes", The artist's process: technology and interpretation, Proceedings of the fourth symposium of the Art Technological Source Research Working Group, Ed. S. Eyb-Grun, et.al., Archetype, London.

B. Singer, E. Aslaksby, B. Topalova-Casadiego and E.S. Tveit, 2010: "Investigation of materials used by Edvard Munch", Studies in Conservation, Vol. 55, No. 4, pp. 274–292.

S.J. Ferrer, I.G. Matheson, E.G. Sandbakken and B. Topalova-Casadiego, 2009: "Edvard Munchs Menneskeberget/Mot lyset, 1927–29: Et utfordrende konsolideringsprosjekt i stort format", Meddelelser om konservering, no. 1, pp. 12–21.

U. Plahter and B. Topalova-Casadiego, 2008: "The Scream by Edvard Munch: painting techniques and coloring materials", Studying Old Masters' paintings, Ed. M. Spring, The National Gallery Technical Bulletin, pp. 244–252.

V. Bakkestuen, L. Erikstad, I. Grimstad and M. Stein, 2006: "A conservation plan for 1158 paintings by Edvard Munch", Zeitschrift für Kūnsttechnologie ūnd Konservierūng, Vol. 20, No. 2, pp. 353–360.

K. Korff and B. Topalova-Casadiego, 2005: "Preliminær undersøkelse av Edvard Munchs Skrik", Meddelelser om Konservering, no. 1, pp. 3–15.

B. Topalova-Casadiego, 2004: "Noen aspekter ved Edvard Munch's Piken og døden", Meddelelser om Konservering, no. 1, pp. 25–29.


PRESENTATIONS:

Various Authors: Detection of CdS nanoparticles and implications for cadmium yellow paint degradation in Edvard Munch's The Scream (c. 1910, Munch Museum), Microscopy & Microanalysis 2017 Meeting in St Louis, Missouri, USA, 2017.

H. Deborah, S. George, J. Y. Hardeberg, J. S. Ferrer, I. C.A. Sandu, 2017: Old Man in Warnemünde (1907) colouring palette: A case study on the use of hyperspectral imaging for pigment identification, in 25th Color and Imaging Conference, September 11-15 Lillehammer 2017.  

T. Markevičius, T. Syversen, E. Chan, N. Olsson, C. Skov Hilby, R. Šimaitė, 2017: Cold, warm, warmer:  a temperature-based approach to optimize hydrogel cleaning of paper and paint surfaces by coupling Agarose and Gellan hydrogels and hydrolytic enzymes and accurate heat transfer using the IMAT carbon nanotube heater, The 18th Triennial Conference of the International Council of Museums Committee for Conservation (ICOM-CC), Copenhagen, 4 - 8 September 2017.   

E.G. Sandbakken, 2016: “Pollution induced? Crystal formation on Edvard Munch’s Aula sketches”, in FUTURAHMA – From Futurism to Classicism (1910-1922). Painting Techniques, Art History and Material Analysis, Scuola Normale Superiore di Pisa, June 2o -21, 2016.   

E.S. Tveit, 2016: Ferniss og konservering på Munchmuseet», presentasjon for NKF-N, Munchmuseet, Oslo.  

B. Levin, K. Nguyen, M. Holtz, M. Wiggins, M. Thomas, J. Mass, A. Finnefrock, R. Opila, T. Beebe, E.S. Tveit , D. Muller, 2016: “Correlative Chemical and Structural Analysis of Microsampled Cadmium Yellow Paint from Edvard Munch’s The Scream (c.1910, The Munch Museet) in Scanning Transmission Electron Microscopy”, presentasjon for Material Research Society (MRS), Symposium TC3: Materials Issues in Art and Archaeology, Meeting, Warrendale, USA.

A. Shugar, J. Mass, R. Ploeger, M. Wiggins, T. Beebe, K. Booksh, A. Hull, R. Opila, T. Syversen, E. Tveit, L. Monico, K. Janssens, C. Miliani, J. Alcantara-Garcia, 2016:Shades of Yellow—Investigation of Late 19th- Early 20th-Century Yellow Artists’ Pigments from the Studios of Henri Toulouse-Lautrec and Edvard Munch”, Material Research Society (MRS), Symposium TC3: Materials Issues in Art and Archaeology, Meeting, Warrendale, USA;

E.G. Sandbakken, A. Hull, 2015: Pollution induced? Crystal formation on Edvard Munchs Aula sketches», AIC (RATS), 43rd Annual Meeting, Miami.

E.S. Tveit, J. S. Ferrer and P. Pettersen, 2014: "Edvard Munch's Workers in Snow, Woll M. 1091 (c. 1913–15), An ongoing process". Presentation for Finito/Non-Finito: Intentionality and the Modern Fragment, the Munch, Modernism and Modernity Research Group; Munch Museum, the National Museum of Art, Architecture and Design and the Department of Philosophy, Classics, History of Art and Ideas, the University of Oslo.

L. Solheim, L.C. Aasen and E.S. Tveit, 2013: "Munch Unstretched – 50 ways to hang your painting", Proceedings from the Munch150 Conference in Oslo, Munch Museum and the University of Oslo.

J. Boon and E.G. Sandbakken, 2012: "An analytical survey of painted areas in poor condition in Munch's first monumental sketch for The Researchers/Alma Mater", Proceeding from the Munch150 Conference in Oslo, Munch Museum and the University of Oslo.

E.G. Sandbakken and E.S. Tveit, 2012: "Preserving a master: Edvard Munch & his canvas sketches", Urban Research Plaza Forum, presentation for Chulalongkorn University, Bangkok, Thailand.

E.G. Sandbakken and E.S. Tveit 2012: "Edvard Munch's monumental sketches (1909–16) for the Aula of Oslo University, Norway: Conservation issues and treatments", Presentation for ICC, Vienna.

F. Jong, K. Kausland, L.K. Solheim, B. Topalova-Casadiego and L.C. Aasen, 2012: "Conservation of Edvard Munch's paintings for relocation to a new building: A project in progress at the Munch Museum", Presentation for Moving Collections: Processes and consequences, NKF-N, Oslo.

G. Landro, 2009: "The conservation of the Scream – the stolen and re-found painting by Edvard Munch", Presentation at the seminar Analyze this!, NKF-FI and Helsinki Metropolia University of Applied Sciences, Helsinki.