%0 Journal Article
%T The Restoration of Paintings at the Beginning of the Nineteenth Century in the Imperial Gallery
%A Alice Hoppe-Harnoncourt
%J CeROArt : Conservation, Exposition, Restauration d'Objets d'Art
%D 2012
%I CeROArt
%X Les tableaux de la collection imp¨¦riale ¨¤ Vienne ont subi diff¨¦rentes phases de restauration. Dans la plupart des cas, celles-ci sont en rapport avec des ¨¦v¨¨nements dans l¡ähistoire de la galerie. Autour de l¡äann¨¦e 1800, les traitements avaient g¨¦n¨¦ralement pour fonction d¡¯adapter les peintures au go t du jour : beaucoup de changements de formats peuvent ¨ºtre retrac¨¦s jusqu¡¯¨¤ cette date ou les ann¨¦es pr¨¦c¨¦dentes. En revanche, apr¨¨s les guerres napol¨¦oniennes, les interventions ¨¦taient de nature diff¨¦rente : la plupart des tableaux sur bois de la galerie ont ¨¦t¨¦ parquet¨¦s durant cette p¨¦riode. Appliqu¨¦e syst¨¦matiquement, cette m¨¦thode ¨¦tait apparemment consid¨¦r¨¦e comme une solution de conservation ¨¤ long terme. The paintings in the Imperial collection in Vienna underwent several phases of restoration treatments. In most cases they can be linked to events in the history of the picture gallery. In the years around 1800 the treatments seemed to be caused mainly by aesthetical aspects: many changes to the format of the paintings can be traced to that time. However, the treatments after the era of the Napoleonic wars were different: Most of the gallery¡¯s panel paintings were cradled at that time. Since this method was applied systematically, it was probably considered as solution for a long lasting conservation.
%K Vienna
%K Imperial Gallery
%K parquet
%K transpositionon canvas
%K Vienne
%K galerie imp¨¦riale
%K parquet
%K transposition sur toile
%U http://ceroart.revues.org/2336