42nd Annual Meeting – Collection Care & HVAC, May 31, "Some trends in examining six years of utility and climate data at the Museum of Modern Art" by Jim Coddington

Jim Coddington, the chief conservator at the Museum of Modern Art (MoMA) in New York,  presented some trends that were found from analyzing the environmental data that was collected at MoMA over the past six years. This was particularly interesting because it compared two relatively new or newly renovated buildings with different types of usage/functionality and HVAC systems. The building on 53rd street, Jim admits, is very leaky from a number of sources, including the many doors through which thousands of people pass, and has a steam and electric HVAC system. The building in Queens (QNS) on the other hand is mostly concrete with very little glass and has a gas powered HVAC system. The data that Jim presented was collected from across the museum including finance, operation, conservation, and vistor services. Needless to say there are a lot of people invested in this.
Jim showed mostly graphs and charts. These included data showing the temperature and %RH outside, inside the buildings, dew point, and comparing this energy usage. I’ve included images of the graphs that I found most interesting or informative.

NYC average monthly temperatures (6 year average) showing periods of cooling and heating inside the buildings.
NYC average monthly temperature (6 year average) showing periods of cooling and heating inside the QNS building. Most graphs showed what the temperature was at 1 PM each day.

Indoor RH
This graph shows the indoor RH from fixed outdoor dew point to variable indoor set-point Temperature.

In QNS there is a large expenditures of gas in august and dips in winter. This is because that are able to use free cooling to extract excess heat for 8 or9 months, or 3 out of 4 seasons, through a heat exchanger on the roof. In this process, heat is absorbed from the condenser water by air chilled water. The length of time they are able to use free-cooling is based on set points of T and RH (see second image) and is affected by air temperature, relative humidity, and water supply temperature. Non-free cooling with the RH set at 50% happens over the summer and is longer at lower temperatures. So during the summer the temperature set point is allowed to drift to 22 degrees C. Jim mentioned that having a narrower set point may actually equal cost savings, but they have no data for that.
On the analysis for the 53rd street building, Jim highlighted that this is a very different situation. It is a high use building, with lots of leakage points and demand on the systems- steam and electric principally. Therefore, the energy usage is much higher.
It has been asked whether heat from visitors is significant? In Chris McGlinchey’s calculation, the 360 kJ/hr given off by the visitors with a typical stay of 4 hours, this is not a huge contributing factor.
The combined energy usage in kJ/m2 at the 53rd street and QNS buildings.

In Jim’s summary and conclusions- The expected was stated that they are consuming more energy in the 53rd St building than QNS. This is mostly in winter (see the third image). The QNS building is more efficient because of the free cooling, lower set point temperature and equates to lower energy usage thanks to an efficient building design. Online Resources:

  • Steam- natural gas utility converter: http://www.coned.com/steam/default.asp
  • NIST Guide for the Use of the International System of Units (SI) 2008: http://physics.nist.gov/cuu/pdf/sp811.pdf
  • Humidity converter: http://www.cactus2000.de/uk/unit/masshum.shtml
  • Dewpoint calculator: http://www.decatur.ed/javascript/dew/index.html
  • NOAA, National.ncdc.noaa.gov/

Call for Proposals: 2015 Isabel Bader Fellowship in Textile Conservation and Research

Cover Image Bader
Agnes Etherington Art Centre and Master of Art Conservation Program
Queen’s University

The Isabel Bader Fellowship in Textile Conservation and Research supports the study, care and treatment of Canadian historical costume. Through the generous support of Dr. Isabel Bader, the Fellowship links two unique resources at Queen’s University: the Queen’s University Collection of Canadian Dress at the Agnes Etherington Art Centre, and the Master of Art Conservation Program, Canada’s only graduate degree in conservation theory and treatment.
Description
The Fellowship provides an exciting opportunity for you to pursue your own research project in the area of textile conservation and/or costume history using the Queen’s University Collection of Canadian Dress. Your project will be supported by a conservation intern working under your supervision in the investigation and treatment of selected objects. You will also have access to the well-equipped textile laboratory in the Master of Art Conservation Program and opportunities to engage and share your expertise with the students through lectures, seminars and/or workshops.
Terms
One $12,000 Fellowship is awarded for a three-month residency at Queen’s University (plus up to $2,000 for research expenses). The Fellowship begins in January 2015. The Fellow is responsible for travel and accommodation arrangements.
To Apply
Experienced conservators and textile specialists are encouraged to apply. Please submit the following to Alicia Boutilier, Curator of Canadian Historical Art, Agnes Etherington Art Centre, 36 University Ave, Queen’s University, Kingston, Ontario, Canada, K7L 3N6:
• Cover letter, including name, contact information and project summary (maximum 150 words)
• Detailed research proposal, including objectives and methodology, use of Queen’s University Collection of Canadian Dress, schedule of work, projected outcomes and plans for dissemination of research (maximum 5 pages)
• Curriculum vitae
• Letters of support from two professional referees
Interested candidates are strongly encouraged to contact Alicia Boutilier (alicia.boutilier@queensu.ca) well in advance of the closing date to discuss the relevance of their research interests to the Queen’s University Collection of Canadian Dress.
Deadline
27 June 2014
Applicants will be notified by 1 August.
For further information about the Agnes Etherington Art Centre and Master of Art Conservation Program, please consult: aeac.ca and queensu.ca/art/artconservation.html.
Agnes

Call for Participants: Blue Star Museums Program

The following message is posted on behalf of Wendy Clark, the Acting Director of Museums, Visual Arts & Indemnity for the National Endowment for the Arts.
NEA BlueStar
I’m writing to ask you to help us spread the word about the Blue Star Museums Program, which invites museums to offer free admission to active duty military personnel and their families during the summer. Last summer we surpassed our goal of 2,000 participating museums, and were proud that more than 700,000 military personnel and their families were treated to outstanding museum experiences. It may be that your institution/museum is already registered, but I felt compelled to try to spread the word to as many people as possible.
We hope it might be possible for your museum to participate, if so follow this link to sign up online. Even if your institution is already offering a similar program or already offers free admission to all, registering as a Blue Star Museum provides a national platform to showcase your museum to the military community.
If you have any questions please e-mail bluestarmuseums@arts.gov
Sincerely,
Wendy Clark
Acting Director of Museums, Visual Arts and Indemnity
National Endowment for the Arts

ECPN Minutes from January 14, 2014

On the recent Emerging Conservation Professionals Network (ECPN) conference call, the meeting minutes from January 14, 2014 were approved for posting.
ECPN Conference Call Minutes
Tuesday, January 14, 2014 | 12-1pm ET
Submitted by Fran Ritchie
In Attendence:
Network Members:
Eliza Spaulding (Chair)
Megan Salazar-Walsh (Vice-Chair)
Michelle Sullivan (co-Professional Education and Training)
Anisha Gupta (Webinars)
Saira Haqqi (co-Outreach)
Fran Ritchie (co-Communications)
Kendall Trotter (co-Communications)
Ryan Winfield (AIC Staff Liaison)
Ruth Seyler (AIC Staff Liaison)
Not in Attendance: Ayesha Fuentes (co-Professional Education and Training), Carrie McNeal (co-Outreach), Stephanie Lussier (AIC Board Liaison)
 
Non-Network Members in Attendance:
Daisy DeMarsh
Sara Levin (Regional Liaison- Philadelphia)
Heather Brown (Photographic Materials Specialty Group Liaison)
Kelly McCauley (Collection Care Network Liaison)
Conference call #: 866-225-4944
Pin: 9992396916
-Approve November 12, 2013 meeting minutes– Megan approved. Post to blog and Facebook
-Annual meeting:
Eliza: Thanks for all your work so far.  Ruth, for the happy hour, have you made any more connections on location and time allotment?
Ruth: Thinking about the Atrium area just off lobby, so that it’s easy for people to find.  That’s one option.  But we need to be sure to have cash bar set up, even if we hand out drink tickets, so that way if it is accessible for AIC members who want to come over, that can control the bar tab.
Eliza: Is the hotel bar still an option? Ruth: That’s an option, but if in the Atrium it would be as if done in a meeting room-the drink order would be through banquets [department], as well as the appetizers.  The hotel bar is a little more tucked away.  Drink prices might be same, we might save on apps from the bar, but not much.
Eliza: Are you planning to go out again to the site to reassess?
Ruth:  Yes, in March or early April.  Both locations are close enough to list as Atrium in brochure.  If makes more sense cost-wise, we can make the change later from Atrium to bar.
Eliza: Thoughts on time slot?
Ruth:  Space is reserved for evening, but really we can do what you think would be the most popular time.  Now that you don’t have a portfolio review, we might want to do it later as people arrive?  Either 6-8 or 7-9.
Eliza: I’ll see what’s already scheduled for that day.
Ruth: Workshops will be over, day tours are at different times and will probably be back to hotel by then… late afternoon tours, pre-sessions that are free in registration are 4:30-6:30, which would make a 6:30 or 7 start time make sense.  And you really can go as late as you want, but if we do end up being in the Atrium and going through Banquet, you pay a bartender charge for some of the hours, but there may be an hourly  minimum anyway, making is go until 10 (a 4 hr min).
Eliza:  That start time makes sense and we’ll see what contract says.  Other suggestions for activities to make happy hr more engaging (been low key and nice in the past, so don’t need to do new ideas, necessarily)? Such as, all officers wear stickers that say “come talk to me about ECPN.”
Megan: We should wear those stickers all the time.  (Michelle agrees.)
Eliza: Ok we’ll plan on that. What about give people at happy hr different color stickers and encourage them to talk to others with same color? In the past it seems like people mixed really well.  Just throwing that idea out?
Ruth: The only thought about that, with the locations– we’re so visible to people checking in, you’ll get more AIC members stopping by, which might get a little confusing with the stickers.  If want pure ECPN only happy hr, might want to look at a different place.  You’ll naturally attract other AIC members.
Eliza: I wasn’t really thinking of it being an ECPN only event, I know a lot come hoping to mingle with not just emerging professionals…so maybe this is unnecessary.
Megan: It is always nice to have excuse to talk to someone, even if you already know people. People probably stick to talking to people you already know.  If you have excuse, you’re more likely to talk to people you don’t know.  I like the idea, don’t think it’s necessary, but it could make a difference.
Eliza: I guess the other option is I could stand at front and encourage mingling with other people, too.
Megan: I think if officers are wearing stickers that could encourage them, too.
Fran: What about regional liaisons wearing a sticker with where they’re from?
Eliza: Good idea, we’ll have to get a sense of who’s coming first so we can have that ready.
Anisha:  And what about graduate school liaisons? Good for pre-program and schools talk to each other.
Eliza: Yeah, again, I think this is good… encourage the entire liaison network… and if they want to wear a sticker throughout the entire conference that would be good. **So put that on to-do list to make that happen.
Eliza: What did people think of the schedule I sent out for the program?
Ruth: I haven’t had chance to see; I can look at it after this call.
Megan: So half hour for resume reviewing, 15 min for speed-networking, right?
Eliza: Yes, we’re trying to figure out how to do all of them.  I only met with people for 8 min at the AAM conference speed-networking, so it was a lot shorter, but since we’re a more focused conference, I thought we could do more time.  I feel like half an hour seems like good amount of time for resumes, could be maybe a little too short.
Ruth:  If we changed it to 15 min for resume, it could end up being a little too short, but keeping it longer—it’s not bad if people end early. Eliza:  Good, we’ll keep those lengths.
Megan:  The switchover will be the hardest part because there might be time wasted finding next person.
Eliza: Yes, we want the session to synch up in some way so it isn’t insane and super confusing.
Megan: Yeah, it could get chaotic really quickly.
Eliza: Ruth, we’ll wait to see what you think after you review the schedule.  Basically it’s 12-12:45 lunch period (still waiting to hear about if we’ll be sponsoring lunch or ask people to bring lunches), and during that time will also be our informational meeting. 12:45-1:45 we’ll jump into the program with time to wrap up before people leave at the end.
Ruth: One thing people can’t do is bring outside food into the hotel, so if we can’t get a sponsor for meals at lunch, we might have to look at just starting at 12:45 to give people a chance to pick up something before they arrive. When it gets closer and we have a budget, maybe AIC could be the sponsor.  It’s the kind of thing that if one person has a subway sandwich [outside food] it’s fine, but if everyone does that and it seems like we’ve encouraged it, the hotel would be mad and it would be against our contract. Getty still thinking of being a sponsor, but it’s getting stuck in their internal structure. They don’t know yet.
Eliza: Good to know we can’t bring in outside food.  We’ll wait to see what happens with that and then figure how our info meeting would fit in, too.  Moving on to speed networking application intake process.  I’ve been thinking a lot because I know this will be big part of the next few months.  Ryan, do you think we can post questionnaire on AIC website, have submissions sent to the office, and then forwarded to one of us?
Ryan: I thought we would have the form on AIC site and then give people an e-mail address to send it to [once completed] that would forward to an ECPN person.  We can have the system where it goes to one e-mail address, but through g-mail you can set up to have e-mails forwarded to other people from that account.  Other committees have it working that way.
Eliza: Ok that sound good to everyone who will be helping out with this?  Sounds good.  So we could do it that way and then dump all applications in one spot that we can all access like a dropbox account or something.  We can talk about more over e-mail, but anyone want to be the person?  (Saira volunteers)  And Ryan, the Cuba trip is coming up, so when is earliest to get these forms out to people?
Ryan: Yes, I will be out of the office Jan 23rd-Feb 4th.  I’m probably out the 6th and 7th or that next Monday, not sure yet.
Eliza: So maybe we should try to catch you before you leave, if we can.
Ryan: Once the form’s created, it should be fairly easy to post on-line.
Eliza: I know this isn’t the format we have to do, but it occurred to me that writeable PDF’s you can save and then e-mail to people.  It might be a setting when you set up the writeable form.
Ryan: There shouldn’t be a reason why people couldn’t save the blank form we give them when they fill it out and then send it back to us.
Eliza: What did people think of speed networking questionnaire? Saira, I saw your comment from your e-mail this morning about a new question.
Saira: Yes, to ask the person what they are interested in talking about with the other people.
Eliza: Yeah, I thought it was inherent in the other question, but maybe not.
Saira: I figure people are at different points in their career, so they might have a particular concern that they want to ask others about.
Eliza: It can’t hurt to add that.  Any other feedback? We’ll go ahead and work with that.  The one thing is, I can make it into a writeable PDF, but it’s hard to make changes once it’s done, so now is the time to change things.  We can continue this discussion over e-mail.  Any thoughts about the resume review doc that was created? Fran and Anisha I think it’s looking really good, so I’d like Stephanie to weigh in, so we’ll make sure she sees it. We can move forward with getting resumes from various people.  Anisha: that sounds good.
Eliza: Michelle, how is career coaching coming along?
Michelle:  It’s coming along; I hope to have it to you guys very soon.  I looked over the resume review to have similar formatting.  I’m hoping it’s not too much overlap with the resume document.  You can judge once I post on basecamp.
Eliza:  Megan, how about drafting letters to solicit mentors?
Megan: I haven’t started that yet, when would be a good time to put out a call for it? Eliza: What do you think about that question, Ruth?  When should we solicit mentors?
Ruth: Now is an appropriate time when people are registering and thinking about the conference. I would definitely start now with an e-mail, and we can put info about the event on AIC website, now that we have more structure for the program. And put a prompt about registering as a mentor (to click here).
Megan: I’ll start drafting something to have by the end of the week.
Eliza:  We’ll want to solicit widely. We’re hoping people will want to volunteer, but we should send out calls to Specialty Groups (SG’s), as well as through ETC.
Megan:  Yes, I was thinking of writing SG’s and asking ETC what their thoughts are.  Any other committees to target as well?
Eliza:  All the groups, CCN we’ll want to reach out to…  We can also see how we can use our liaison network to help with this, too.  For example, to distribute the work, draft one letter and explain the goal to the liaisons, and then ask them to tweak it to their groups specifically.  For the poster: Heather and Sara are joining us on the call today.  A lot of organization we need to do with the poster.  I was reviewing the abstract last night- let’s talk about topics we want to cover in the poster.  For example, in the abstract we say we’ll talk about overview of existing platforms, comparing them, soliciting feedback from people who have used them, etc.  Heather and Sara shared ideas in e-mails with more ideas, like how to achieve best image quality, compare and contrast the hard copy and soft copy portfolios, and the pros and cons of each.  What does everyone think of those ideas?
Sara: It’s good to talk about the different platforms because there are so many of them and they pop up more every day.  Some strengths and weakness, and what’s useful for our specific needs and of each platform.  All platforms are different.
Heather:  Are you still planning to do a webinar on e-portfolios, or is the poster covering that?
Eliza: Good question, it’s not currently planned for this year (by June 2014), but it’s still on the list, so could be after that.
Heather:  Sounds like a lot to cover in the poster.  Maybe focus on creating one, or if you should, and then later present a how-to?
Eliza: That was my reaction, too.  We have big ideas and I’m wondering logistically how to cover all of these. Once we know who’s in the working group, maybe revisit the ideas and figure out priority of ideas.  Ones that don’t get covered, we can have companion blogpost, handouts, etc.  Fit in what makes sense.  Who is working on it… Heather and Sara, Kendall and Saira?
Sara: Who is actually writing the poster?
Eliza: To be determined; who wants to work on it and create a tentative schedule for achieving milestones.  I was wondering if Carrie wanted to be involved, but she’s not on call.
Michelle: I thought Carrie would be in it as well.
Megan: It’s kind of her brainchild.
Eliza:  I’ll reach out to Carrie to see what she’s thinking.  I was hoping one person would be interested in leading this group.  I’ll ask Carrie.
Sara: I’d be interested in leading the group, I know Carrie from school and can work with her. (Unless Carrie really wants to do it.)
Eliza: We can discuss tentative schedule over e-mail.  Try to develop content for poster/the writing and graphics by beginning of April, giving Kendall almost 2 months to work on designing it and give time for revisions.  Early deadline, but gives us the space to run over time. Kendall how does that sound? Kendall: I think 2 months to work on design would be great.
-Mentoring program
Megan: The reviewers are sending suggested matches by the 17th, then 21st we can have a call to finalize matches and discuss any issues.  Hopefully after that, e-mail the mentors and mentees to tell them they have a match.  Ayesha not on call– She started working on a self-matching tool (we had a dedicated call to make the self-matching system) and she made some docs as instructions and we still need to review those.
Eliza: How is that process feeling to you? Manageable?
Megan: Yes.
E: Thanks, I still need to review Ayesha’s tool that she outlined.
Megan: I looked over them, but realized I needed to go through the process to see if they work.  Eliza: Before we move on, anyone want to comment on anything? No.
-Webinars
Anisha: We had a planning call last week with all speakers and Stephanie, so we got a sense of the experience of our speakers and what they wanted to have as their take away message with the audience.  The call determined that we need to think more about content because each person brings a lot, especially Teresa Meyers who works on the hill, so need more thought on how to present.  We’ve scheduled a planning call with Ruth, Eryl, and others to discuss further.  As that gets fleshed out, we’ll be able to talk more about logistics and how to present it.  I’m talking to Eryl this week to sum up thoughts and figure out where we want to be with this webinar.  We’re still on track for Feb 19th as the webinar date.  Marketing our webinars has come up in the past, and this webinar is a great example of one that more than ECPs would be into.  How should we reach out to other groups? And once we figure that out, we can use that to market all of our events.
Eliza: Ruth, so to address that, are you also going to Cuba?
Ruth: I am, and I thought that I had talked with Stephanie a bit about scheduling in February (it’ll be tight), but we’ll see what we can do.  It’s hard for Ryan and I to do a lot of marketing and admin details until Feb. 4th because of the trip.
Eliza: If we did the webinar in March, would that work for you?
Ruth: March would be better and easier with more time to market.
Ryan: Early March, if possible.  First two weeks in March.
Anisha: March is fine for me. I can talk to the speakers about when in March we want to do it.
Eliza: I think that would help us out.  We realize we need more thought into the webinar. Ruth, as Anisha mentioned too, it would be great to have a call with you and Teresa because she brought up a lot of good points that would be good to have your opinion.  We can do it when you get back.
Ruth: Yeah, better to do it when we get back from Cuba.  Away until Feb 4th.
Eliza:  Anisha, any thoughts on the blogpost idea with Suzanne Davis?
Anisha: I got in touch with her yesterday to get a feel if it’s feasible and she likes the idea.  It works for her schedule and I told her that we want to build on the last AIC meeting up to a potential webinar.  It would be a nice lead up to next AIC meeting because what she talks about could help people prepare for the meeting and professional development.
Eliza: That would be great; we need to think about how we’ll structure that blogpost.  Maybe start an e-mail discussion with her, or just schedule a call with her.
Anisha: It would be good to have a call; we could then discuss the webinar so there would be no overlap with blogpost, since they’re related.  We should have time for the call.
Eliza: Good point, make sure we’re thinking about them as two separate things so they cover different topics.  We’ll wait and see how the next webinar shapes up so we can fit in a call with her.  Early February, hopefully.  We’ll skip over the July webinar on pre-program experience for now.  I’m keeping everyone in the loop by email.
-Liaison program
Eliza: Saira, how is reaching out to SG liaisons going?  Saira: I asked Carrie and haven’t heard back yet.  What I can see based on Writeboard, we have quite a few confirmed, but a few to go.  Fran was helpful getting some people figured out.  I’m not sure because Carrie has been dealing mostly with that.
Eliza: We’ll follow up by e-mail to see where things stand; let us all know if you need extra hands for it.
-ANAGPIC
Eliza: Megan shared that ANAGPIC is at Buffalo April 11&12th. In addition to Megan, Anish, Michelle and Saira will be attending.   As you all likely know, in the past ECPN has been giving a brief presentation on ECPN to further connect with our demographic on the Saturday of the conference.  Megan gave it last year and it was a good experience.  Should we do again this year?
Anisha: I got great feedback about it from other members who were there, so sounds like it would be worthwhile to keep going with it.
Saira: I agree.
Eliza: I think it would be great, too. Megan and I discussed that Megan has given it 2 years now, so maybe time for someone else to give it.  That can show diversity of ECPN.  Any others interested? (Anisha would be happy to.)
Michelle: I’m presenting a paper, so I’d rather not.
Saira: I was going to suggest that maybe we all go up and only one talk?
Eliza: I had that idea too, but we’ll keep talking about that later.
Megan: I already e-mailed Buffalo about presenting, so they’ll put it in the schedule.  In the past we involved the Canadian group, but do we want to ask them again if they’ll be part of it?
E: I think so.  We’ve co-presented with emerging group from Canada and they liked exposure.  Maybe they want to be involved in presenting.
Megan: I’ll contact them and see.
E:  We’ll wrap up here and follow up via e-mail for other things.  Next call is March 11th 12-1pm, and we’ll invite liaisons to contribute content.  We’ll contact them before to let them know, and follow up as it gets closer.  Anything else?  Thanks, we’ll continue to be in touch by email!
Respectfully submitted by Fran Ritchie, co-Communications Chair
FranRitchie@gmail.com

It’s thanks to the conservators and their innovations

According to J.S. Marcus writing in The Wall Street Journal issue of March 15-16, 2014 (“Looking Up at Veronese’s Grandeur”), after years of taking a back seat to Titian and Tintoretto because his works are so large as to be extremely difficult to transport, Paolo Veronese will have an exhibit at the National Gallery London from March – June 2014. Marcus quotes Xavier Salomon, the exhibit’s curator as saying that one important reason the show can be mounted today is “we now know how those large paintings can be preserved properly during transportation.” What he is really saying is “thank you conservators”.

A Nod to the Monuments Men: The National Gallery of Art's New Exhibition

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David Finley in his office at the National Gallery of Art. Finley was director of the Gallery from 1938-1956, and vice chairman of the Roberts Commission.
National Gallery of Art, Washington, D.C., Gallery Archives
The officers who served in the Monuments, Fine Arts, and Archives (MFAA) program rescued masterpieces from Nazi thieves during the chaos of liberation. Prior to the war, six of these officers were associated with the National Gallery of Art in Washington, and in later years three held important positions at the museum. Perhaps more important, even before the MFAA operation was established, the Gallery was the center of lobbying efforts to create such a program and later, in association with the Roberts Commission, worked tirelessly to support MFAA activities in the field.
“The Gallery is proud to have played such an integral role in the story of these real-life Monuments Men, ” said Earl A. Powell III, director, National Gallery of Art. “These men—and women—worked to protect Europe’s cultural heritage at the height of World War II, ensuring its safety in the aftermath and returning works, when possible, to their rightful owners once peace and security were restored.”
From February 11 to September 1, 2014, the Gallery will showcase The Monuments Men and the National Gallery of Art: Behind the History, an archival display featuring World War II-era photographs, documents, and memorabilia, many never before exhibited. On view in the West Building Art Information Room, the display will demonstrate the seminal role the National Gallery of Art played in the creation of the MFAA, the Roberts Commission, and the experiences of real-life MFAA officers.
On March 16 at 2:00 p.m., the Gallery will host the lecture The Inside Story: The Monuments Men and the National Gallery of Art detailing its relationship with the Monuments Men of the MFAA. Speakers will include Maygene Daniels, chief of Gallery Archives; Gregory Most, the Gallery’s chief of library image collections; and Lynn H. Nicholas, author of The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War. Faya Causey, head of the academic programs department, will moderate. The event is free and open to the public and the audience is invited to participate in an open discussion afterwards.
The Monuments Men Film: A Story about Real-Life Heroes
The film The Monuments Men, based on Robert M. Edsel’s book The Monuments Men: Allied Heroes, Nazi Thieves and the Greatest Treasure Hunt in History, dramatizes the efforts and successes of an unlikely group of aesthetes in uniform. In peacetime, many were art historians, curators, archivists, and librarians who staffed cultural institutions such as National Gallery of Art, which was in its infancy when the war broke out.
The Gallery sent its most fragile and irreplaceable objects to Biltmore House in Asheville, North Carolina less than a year after it opened. They remained there until 1944. Meanwhile, the National Gallery in London had long since stripped its walls and secured its most important works in Welsh coal mines. An exhibition of late 18th and 19th century French masterpieces organized by the Louvre was left stranded in South America; through the efforts of Walter Heil, director of the Fine Arts Museums of San Francisco, the show was resuscitated for a tour of museums in the United States, including the National Gallery of Art, where the collection remained from 1942 until the end of the war.
Troubles in Europe left the cultural communities in both the United States and abroad disquieted at best, panicked at worst. Amid the air of uncertainty and uproar that engulfed academics, artists, historians, and museum professionals alike, the American Defense–Harvard Group—established by university faculty and personnel—began working with the American Council of Learned Societies (ACLS) to devise plans for protecting cultural property in Europe. Gallery Director David Finley and Chief Justice and Gallery Chairman Harlan F. Stone became the groups’ spokesmen in Washington, an advocacy that ultimately led to the formation of a government organization to protect and conserve works of art and other cultural treasures during the war.
In December 1942, Stone took their proposition to President Franklin D. Roosevelt who, in turn, created the American Commission for the Protection and Salvage of Artistic and Historic Monuments in Europe. Later the Commission’s scope was expanded to include all war areas. He appointed Supreme Court Justice Owen J. Roberts as chairman; hence, the new group became known as the Roberts Commission.
Behind the Scenes: The Roberts Commission at the National Gallery of Art
Throughout the war, the Gallery provided offices and staff for the Roberts Commission and was deeply involved in its activities: Finley served as vice-chairman and de facto head; the Gallery’s Secretary and General Counsel Huntington Cairns was secretary; Chief Curator (and Finley’s eventual successor as director) John Walker was a special advisor.
In its nascent days, the Commission sought to formalize the MFAA program within the War Department and to recommend would-be Monuments Men. Later the Commission sought to feed information to military strategists, including the locations of churches with spires tall enough to imperil Allied bombers and targets that should be spared because of their cultural importance.
True stories from the Frontline: Lieutenant Charles P. Parkhurst and WAC Captain Edith Standen
The MFAA’s officers bravely followed frontline troops into war zones. Among them were Lt. Charles P. Parkhurst, Jr., the Gallery’s former registrar and eventual assistant director, and Women’s Army Corps (WAC) Capt. Edith Standen, secretary to the Widener Collection, the great gift of donor Joseph P. Widener that had only recently been installed in the museum’s galleries.
“The finding [of looted art] was either easy or accidental, ” Parkhurst told a Gallery oral historian 45 years after his service in the MFAA. “Usually we had clues from shippers, from local residents who said, ‘well, there’s something funny about that castle.’ ”
Chasing one such rumor, Parkhurst happened upon a full-sized cast of Rodin’s Burghers of Calais (1884–95), which German soldiers en route to Baden had been forced to abandon on a mountainside. Parkhurst continued up the mountain to the castle at its peak and found room upon room of plundered art. “The owner of the castle gave me a cup of tea and a list of the objects. [He] said ‘I’ve been wondering how long it would take you guys to get here!'”
For her part, Edith Standen dug up an antique bronze cannon with her own bare hands. The Nazis had taken the priceless mortar from Paris—where it had been since Napoleon captured it more than a century before—and buried it in Stuttgart shortly before the Allies arrived. “I was delighted to [have been] able to give the cannon back, ” she later said, though the gesture was tinged with controversy. Some felt that the cannon should remain in Stuttgart because that was where it had been cast in the late 16th century. “Of course [the idea] was rubbish, ” she said. “It had been taken from the Musée de l’Armée. It went back to the Musée de l’Armée.”
Similar disputes followed, particularly in the wake of the War Department’s decision to send 202 masterpieces from Berlin museums to the National Gallery of Art for safekeeping. The paintings included works by Rembrandt, Rubens, Tintoretto, El Greco, Daumier, and Botticelli. Amid murmurings that the Gallery was claiming these masterpieces as the spoils of war, Finley conferred with Stone, who approved the measure. “If the government asks us to take care of these paintings, ” he said. “We must do it. It is a duty. ”
The 202—as the Berlin paintings were popularly called—arrived in Washington in 1945 under military escort and remained there until 1948. The Gallery put the 202 on view with very little ceremony, but within hours, visitors flooded in. For 40 days, the line often wrapped around the block. The exhibition drew in 964,970 people, an unprecedented number at the time. Everyone, it seemed, was talking about these works or trying to catch a glimpse, from President Harry S. Truman, who dropped in twice, to Clara Bryant Ford (the wife of Henry Ford) and John D. Rockefeller. All 202 works were returned to Germany: the most fragile paintings went directly back, while the others were sent on a tour of a dozen cities first.
A Continuing Legacy
The Roberts Commission also worked with the Office of Strategic Services to create a special unit to investigate and document Nazi art appropriation. Just as Hitler’s officers took meticulous pains to record their own wartime activities, MFAA officers and the Roberts Commission collected archival records of Nazi acts of aggression and Allied efforts to protect and return stolen art.
From its first meeting in August 1943 to its last in June 1946, the Roberts Commission upheld the spirit of the National Gallery of Art’s mission and its founding benefactor, Andrew W. Mellon, who had funded construction of the West Building, donated his personal collection, and created a sizeable endowment to secure the Gallery’s future. As Roosevelt so eloquently said upon accepting Mellon’s gift to the nation:
“Great works of art…belong so obviously to all who love them—they are so clearly the property not of their single owners but of all men everywhere. The true collectors are the collectors who understand this—the collectors of great paintings who feel that they can never truly own, but only gather and preserve for all who love them, the treasures that they have found.”

Conservation Round Table at the Center for Italian Modern Art

Conservation Round Table at the Center for Italian Modern Art
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On Monday, February 24th, 2014, the Center for Italian Modern Art will host a conservation roundtable for conservators, curators, conservation scientists, and other interested participants to consider questions of technique and conservation in Italian 20th-century art. The program will be focused on the subject of CIMA’s inaugural installation: the Futurist Fortunato Depero, whose paintings, sculptures, tapestries, collages, and other works on paper will be on view at CIMA until June 28. The program is part of CIMA’s ongoing efforts to support scholarship and advance dialogue around Italian modern art.

Gianluca Poldi, a conservation scientist from Visual Art Centre, Università di Bergamo, will lead a technical tour of the Depero installation and will share the insights he has gained from his study of a number of the works in the Mattioli Collection. He has been building a database of original materials used by Depero, which can help serve as a baseline in the discussion of the technical investigation, conservation and restoration of Italian art from the 20th century. Furthermore, attention to Depero’s unique materials creates a methodological framework in which to consider the impressive problem of fakes in Italian modern art.
http://www.italianmodernart.org/upcoming-events/

For questions or additional information, please contact info@italianmodernart.org

DRAFT SCHEDULE

9:30 AM:
Check-in and coffee

9:45:
Welcome
Heather Ewing
Executive Director, Center for Italian Modern Art

Introduction to the Depero Installation
Laura Mattioli
President, Center for Italian Modern Art

10:00:
Technical Tour of Depero Installation
Gianluca Poldi
Conservation Scientist; Visual Art Centre, Università di Bergamo

11:30:
Roundtable Conversation with all Participants

1:00 PM:
Conclusion / Adjournment