Conservation Center Theses

Listed are theses and qualifying papers by Conservation Center students on topics pertaining to conservation and technical art history that have been selected by faculty for inclusion in the Conservation Center Library. Unlike IFA dissertations, these are not available to be borrowed through Interlibrary Loan. For access contact the library.

Listed alphabetically by author.

ABBE, Mark B. The Standing Bull from the Temple of Ninhursanga at Ubaid. 2006.

ADAMS, Morgan. Extraordinary Ordinary: Unfolding the History of a 17th-Century Heraldic Manuscript. 2013.

AIKENHEAD, Lydia. “As True As The Sun”: William Griggs’ Embossed Chromolithographs and the Art of the Facsimile. 2018.

ALEXANDER, Shirley. Treatises Concerning the Use of Gold, Silver and Tin in Medieval Manuscripts. 1963.

ARDREY, Elizabeth. The Search for the Secrets of the Old Masters. 1987.

BALACHANDRAN, Sanchita. The Development of a Conservation Consciousness at Angkor: A Study of the Colonial Politics of Archaeology. 2003.

BALDWIN, Ann. The Wayward Paper Object: Artist Intent, Technical Analysis, and Treatment of a 1966 Robert Rauschenberg Diptych. 1998.

BALLARD, Mary. Franco-Flemish Tapestry Manufacture, 1350-1450. 1979.

BARACK, Sarah. The Strassburger Werkstattgemeinschaft and the Adoration of the Magi: Working practices of a Late Gothic collaborative. 2003.

BOTTKOL, Joan. Redefining Ethical Boundaries in the Conservation of Contemporary Works of Art. 2010.

BOYER, Linsly. God’s Little Acre: Newport Rhode Island’s Colonial African American Burying Ground. 2012.

BROST, Amy. From “Certificates of Authenticity” to Authentic Iterations in Variable Media Art. 2015.

BRUSSAT, Melanie. The Bohemian Pieta at The Cloisters: A Multifaceted Study. 2004.

CHAO, Esther. Islamic Luster Glass. 2001.

CHAO, Raina. Opening Doors: The Technical Examination and Contextualization of a Bhutanese Portable Shrine. 2011.

CHUI, Sue Ann. Conservation of Architectural Ceramics In Situ? Grueby Faience in the 33rd Street IRT Subway Station. 1998.

CLEVELAND, Carlie. Pattern Welding and Damascene Steel: A Review of the Literature. 1979.

COHEN, Emily Hishta. Wild Women: The Botanical Artists of Late Nineteenth- and Early Twentieth-century Wildflower Field Guides in North America. 2016.

DAHM, Kristi. Metalpoint Identification: A Technical Study of Seven Fifteenth and Sixteenth-Century Italian Drawings from the Metropolitan Museum of Art. 2002.

DANZIG, Rachel. Alfred Stieglitz – The O’Keefe Portrait: Photographic Process and Conservation Ethics. 1989.

DELACORTE, Malcolm. A Technical Study of Some Late Medieval Embroideries. 1965.

DESCHAMPS, Julie. Vernis Cuir: The History and Use of a Nineteenth-Century Coating for Photographs. 2002.

DOMMERMUTH, Jean. Copper Red Glazes on Chinese Ceramics. 1994.

DUVERNOIS, Isabelle. Moholy-Nagy’s “Vision in Motion” Stilled: A Study of Wire Mesh Plastic Laminate Deterioration. 2003.

EDELSTEIN, Beth. The Materials and Methods of Antoine Pevsner’s Sculpture. 2004.

EFFMANN, Elise. A Comprehensive Critical Analysis of Views of the Eyckian Paint Medium. 1999.

EFFMANN, Elise. Frederic Taubes. 2000.

FAULTERMEIER, Christine. Observations on Medieval German Polychromed Sculpture. 1981.

FINNE, Annika. Narrative Arcs in a Rococo Altar Model. 2015.

GRIDLEY, Rebecca. Luca’s Labors: Luca della Robbia’s Working Methods, Works, and Medici Magnificence. 2016.

HAQQI, Saira. Marguerite Duprez Lahey: A Collector’s Bookbinder. 2015.

HARRIS, Nancy. A Fresco Fragment from Teotihuacan. 1974.

HAYES, Matthew. The Horti Lamianti: Materials, Techniques, and Roman Aesthetics. 2003.

HOLBEN, Margaret. Monument Restoration in Nineteenth-Century France. 1977.

IRGANG, Harriet. Underdrawing in Early Netherlandish Painting/Infrared Reflectography of “The Head of Christ and the Virgin” in Philadelphia. 1984.

KARIYA, Hiroko. The Stylistic Analysis and Conservation Treatment of a Monumental Bodhisattva. 1999.

KIM, Emy. Myths of Aesthetic Recreations: a Late Gothic Case Study. 2008.

KOSS, Kerith. Issues of Analytical Analyses in the Provenance of Medieval Aquamanilia: Examples from The Metropolitan Museum of Art. 2006.

KRAMER, Lia. Ethical Complications in the Stewardship and Exhibition of Conceptual Installation Art. 2018.

LECHTMAN, Heather. Neutron Activation Autoradiography of Oil Paintings. 1966.

LEE-PAPAY, Nancy. Artist Pigments: 1835-1975. 1976.

LEONARD, Mark. Jacopo Tintoretto’s “Doge Alvise Mocenigo Presented to the Redeemer”. 1979.

LINS, Philip A. Poussin's Crucifixion: Notes on the Painter and The Painting. 1973.

LUCE, Ann. A Copper Gilt Plaque Attributed to Nicholas of Verdun. 1979.

MADDEN, Odile. Fabrication and Exhibit of Ivory Netsuke. 2000.

MARCH, Molly. Acrylic Resins in Fine Art and Conservation. 2001.

MAYER, Christa Charlotte. Painting on Fabric Supports – A Literary History. 1966.

MCHENRY, Bannon. A Pseudo-Gothic Ivory Mirror Case in the IFA Conservation Center Study Collection: A Palpable Forgery. 1979.

MELNITZKY, Michael. Deterioration Problems of Paper Collage. 1966.

MOORE, Camille. An Analytical Study of Eugène Atget’s Photographs at the Museum of Modern Art. 2006.

MULSHINE, Shannon. Roy Lichtenstein’s Pyramids: A Study in Perspective. 2017.

MURRAY, Anne. Repository of the Past: A Cypro-Geometric Globular Jar. 2003.

MURRAY, Winifred. The Conservator’s Intent: Establishing a methodology for the treatment of damaged paintings. 2008.

OEY, Mary. Textile-inspired ornament and the beginnings of narrative figural art in New York Public Library Ms. Astor 1. 2006.

O’GRADY, Caitlin. Manganese Dioxide Accretions: Morphological and Chemical Analysis of Accretions on West Mexican Ceramics. 2000.

OWCZAREK, Nina. Fifteenth-Century German Painted Altarpiece Frames. 2003.

PANADERO, Laura. The Role of Material Experimentation in Irving Penn’s Nudes, 1949-50. 2016.

PATTON, Katie. Veronese and His Workshop: The Case of the Seattle Venus and Adonis. 2012.

PÉNICHON, Sylvie. Differences in Image Tonality Produced by Different Toning Protocols for Matte Collodion Photographs. 1998.

PRESTON, Irene Fraley. The Paper of Persian Manuscripts. 1980.

RAYNER, Kari. All According to Design: Jacopo Tintoretto’s Working Methods and the Construction of Reputation in Renaissance Venice. 2014.

RIEGER, Caroline. Technical Problems in the Art of Monet, the 1890s. 1987.

ROBLEE, Ellen. The Role of Investigation in Ethnographic Conservation: The Pomo Ear Ornaments of William Benson. 1999.

RUSHFIELD, Rebecca. Mme de Pompadour and the Early Development of the Vincennes/Sèvres Porcelain Manufacture: A Revisionist Review. 1978.

SALZMAN, Ellen. The Use of Lost-Wax Casting in Bronzes of the Eastern Zhou Dynasty. 1992.

SANDERSON, Katherine. Managing Museum Collections as Non-Renewable Resources. 2011.

SARDJONO, Sandra. Mamluk Silks: A Type of Double Cloth. 2004.

SMITH, Dylan. Casting Bronzes by the Lost-Wax Process: Possible Origins in Ancient China. 1996.

SMITH, J. Corey. Floor Mosaics in Late Antiquity: Materials and Technique. 2004.

SPANDE, Helen. A New Art Through Modern Means: Siqueiros’ Exploration of Synthetic Media in the 1930s. 2002.

THOMAS, Karen. The Retable of St. Anne with Virgin and Child. 2004.

THUMM, Meghan. Arsenical Surfaces on Copper Alloy Artifacts. 1995.

TJIONG, Amy. The Study and Analysis of Marine Mammal Membrane Use in Yup’ik Eskimo Objects. 2010.

TOM, Cybele. The Roles and Mechanisms of Documentation in the Conservation of Contemporary Art. 2013.

TYNE, Lindsey. A Reconstruction of Decontextualized Silk Textile Fragments from Akhmim: Pattern, Function, Workshop, Practice, and Weaving Techniques. 2010.

WALTHEW, Jessica. Case Study: A Reliquary Bust of a Female Saint. 2014.

WATTERS, Mark. Fifteenth and Sixteenth-Century Persian Miniature Painting: The Materials and Techniques and Their Relationship to Style. 1981.

WEAVER, Gawain. Commercial Coatings for Photographs in North America, 1950 to the Present. 2005.

WEIL, Phoebe Dent. Bozzetti Problems: Philological, Functional, Technical. 1966.

WESSLING, Margaret. Wire Transfer Facsimile Prints in the Metropolitan Museum of Art’s Photography Collection. 2013.

WOLF, Andrew. “Wild Grammar”: Linguistic Experimentation in the Text-Based Works of James Castle. 2018.

WOLFTHAL, Diane. The Beginnings of Netherlandish Canvas Painting: 1400 – 1530. 1983.