Two-Dimensional Fine Art Claims

1) Introduction to the topic
2) Difference between a mural and a painting
a) Mural defined
b) Painting defined
c) Comparison
3) Elements of paintings
4) Layers of paintings
a) Paint layer
i) Oil paints
ii) Acrylic paints
b) Varnish layer
c) Ground layer
d) Auxiliary support
i) Defined
ii) Support layer
(1) Canvas
(2) Canvas board
(3) Composition board
(4) Panel
(5) Masonite
iii) Stretched canvas
iv) Stretcher vs. strainer
5) Murals
a) Two common forms
i) Murals painted directly on the wall
(1) Fresco
(2) Secco
ii) Murals executed on canvas
b) Execution/conservation in-situ (on-site)
c) Nuances of mural conservation
6) Conclusion
7) Recap
Interactive Multiple Choice Inquiry Period
1) 5 multiple choice questions
2) 4 choices per question
3) A second quiz if less than 80% score on first quiz

1) Introduction
2) Prints and print-making methods
a) Prints defined
i) Edition numbers
ii) Each print considered an original
b) Print-making methods
i) Engravings
ii) Etchings
iii) Chine Collé
iv) Woodblock prints
v) Lithographs
vi) Silkcreen prints
vii) Photomechanical prints
viii) Gicleé
3) Non-prints: Paintings and drawings
a) Prints vs. non-prints
b) Two types of paint
i) Watercolor
ii) Gouache
c) Drawings
4) Paper supports for works of art on paper
a) Defined
b) Characteristics of paper
i) Acidity level
ii) Archival paper/acid-free paper
iii) Cotton rag paper
iv) Laid paper
v) Wove paper
vi) Calendered paper
5) Photographs
a) Defined
b) Types of photographs/photography
i) Daguerreotype
ii) Tintype
iii) Negatives
iv) Digital photography
6) Conclusion
7) Recap
Interactive Multiple Choice Inquiry Period
1) 5 multiple choice questions
2) 4 choices per question
3) A second quiz if less than 80% score on first quiz

1) Introduction
2) Components of framing
a) Hinge
b) Mat and mount
i) Common forms of mounting
(1) Engaged mats
(2) Float mounts
(3) Spacers
ii) Must use acid-free materials
iii) Alternate mounting techniques
(1) Dry mounting
(2) Mylar corners
c) Backing board
d) Glazing
e) Encapsulation using archival tape
f) Hanging hardware
i) D-rings
ii) Screw eyes
iii) Sawtooth hangers
iv) Cleats
g) Provenance
h) How framing influences damageability
i) Using archival framing materials
ii) Ensuring proper depth between glazing and artwork
iii) Encapsulation using archival tape
3) Conclusion
4) Recap
Interactive Multiple Choice Inquiry Period
1) 5 multiple choice questions
2) 4 choices per question
3) A second quiz if less than 80% score on first quiz

1) Introduction
2) Fire damage
a) Light fire damage
i) Minor soot film
ii) White glove test
b) Moderate fire damage
i) Moderate soot film
ii) Often reversible
c) Severe fire damage
i) Partially or completely undetectable
ii) Melted glazing
iii) Singed or burned paper unsalvageable
iv) Dense soot film may be removed
v) Extreme heat
(1) May cause blistering paint
(2) May change pigment tones
3) Water damage
a) Light water damage
i) Paper distortion with minimal exposure
ii) Vellum or parchment more susceptible
iii) Should be dried slowly in a controlled environment
b) Moderate water damage
i) For works of art on paper
(1) Water stains
(2) Tide lines
(3) Faded inks
(4) Slipped artwork inside the frame
(5) Mold
ii) For paintings
(1) Flaking and paint loss
(2) Blanching
c) Severe water damage
(1) Pigment migration
(2) Damage to the support
(3) Paint loss
4) Impact losses
5) Conclusion
6) Recap
Interactive Multiple Choice Inquiry Period
1) 5 multiple choice questions
2) 4 choices per question
3) A second quiz if less than 80% score on first quiz

1) Introduction
2) Materials and tools used in conservation
a) Materials
i) Solvents
ii) Adhesives
iii) In-painting materials
iv) Lining materials
v) Asian tissue
b) Tools
i) Paint brushes
ii) Scalpel blades
iii) Dental tools
iv) Tweezers
v) Cotton blotters
vi) Screens
3) Equipment used in conservation
a) Microscopes
b) UV light
c) Magnification glasses
d) Water bath table
e) Hot table
f) Suction table
4) Common treatments for paintings
a) Surface cleaning and varnish removal
b) Filling and in-painting surface losses
c) Consolidation of unstable paint layers
d) Methods of tear repair
e) Facing paint layers
5) Common treatments for works of art on paper
a) Water bathing
b) Spot washing
c) Blotter washing
d) passive humidification
e) Light bleaching
f) Stabilizing tears
g) Retouching
6) Conclusion
7) Recap
Interactive Multiple Choice Inquiry Period
1) 5 multiple choice questions
2) 4 choices per question
3) A second quiz if less than 80% score on first quiz

1) Introduction
2) Benefits to knowing your options
3) Potential response team
a) Selecting an art handler
b) Selecting a conservator
c) Checklist to mitigate loss or damage
4) Helpful documents when adjusting a fine arts claim
5) Action steps through the initial process
a) Information to be provided to a conservator
b) Stabilization
c) Triage
6) Standard protocol of a conservator
7) When an item is considered a total loss
a) If treatment is an option…
b) Pre-loss condition issues
8) Cost for restoration
9) Whether restoration is the best option
a) Things to consider
b) Appraisals
i) Pre-loss appraisals
ii) Types of appraisals
iii) Post-loss appraisals
iv) Organizations to locate appropriate appraisers
v) Finding comparable values / authentication
vi) Appraisers report
c) Art storage
i) Art storage fees
ii) Criteria for art storage facilities
10) Conclusion
11) Recap
Interactive Multiple Choice Inquiry Period
1) 5 multiple choice questions
2) 4 choices per question
3) A second quiz if less than 80% score on first quiz