{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2025,7,11]],"date-time":"2025-07-11T10:50:09Z","timestamp":1752231009787,"version":"3.40.5"},"reference-count":18,"publisher":"Associacao Profissional de Conservadores-Restauradores de Portugal","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Cons. Patrim\u00f3nio"],"abstract":"<jats:p>After Edson Motta\u2019s graduation from the Fogg Conservation Center, his experience contributed to the practice of conservation in Brazil through the introduction of new materials and the technique of wax-resin lining. However, this technique has drawbacks when applied in a country of tropical climate and few resources. It is important, when considering the use of this approach, to be mindful of the conservator\u2019s historical role, which can reveal why this technique was, very likely, the best choice for the conservation of the vast patrimony of canvas paintings in Brazil.<\/jats:p>","DOI":"10.14568\/cp2019015","type":"journal-article","created":{"date-parts":[[2020,11,12]],"date-time":"2020-11-12T09:53:20Z","timestamp":1605174800000},"source":"Crossref","is-referenced-by-count":2,"title":["Wax resin lining techniques: Edson Motta\u2019s training at the Fogg Conservation Center and its adaptation to the Brazilian reality"],"prefix":"10.14568","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-4608-6554","authenticated-orcid":false,"given":"May","family":"Paiva","sequence":"first","affiliation":[{"name":"Escola de Museologia, Universidade Federal do Estado do Rio de Janeiro, Av. Pasteur, 458\u2013Urca, 22290-240 Rio de Janeiro, RJ, Brasil"}]},{"ORCID":"https:\/\/orcid.org\/0000-0001-5444-975X","authenticated-orcid":false,"given":"Maria","family":"Aguiar","sequence":"additional","affiliation":[{"name":"CITAR, Escola das Artes, Universidade Cat\u00f3lica Portuguesa, Rua Diogo de Botelho, 1327, 4169-005, Campus da Foz, Porto, Portugal"}]},{"ORCID":"https:\/\/orcid.org\/0000-0002-0620-080X","authenticated-orcid":false,"given":"Eduarda","family":"Vieira","sequence":"additional","affiliation":[{"name":"CITAR, Escola das Artes, Universidade Cat\u00f3lica Portuguesa, Rua Diogo de Botelho, 1327, 4169-005, Campus da Foz, Porto, Portugal"}]}],"member":"5676","published-online":{"date-parts":[[2020,11,4]]},"reference":[{"unstructured":"[1] Morais, F., N\u00facleo Bernardelli: Arte Brasileira nos Anos 30 e 40, Edi\u00e7\u00f5es Pinakotheke, Rio de Janeiro (1982).","key":"ref0"},{"unstructured":"[2] Ancora, A., Uma Breve Hist\u00f3ria dos Sal\u00f5es de Arte. Da Europa ao Brasil, Caligrama Edi\u00e7\u00f5es, Rio de Janeiro (2005).","key":"ref1"},{"unstructured":"[3] Coolidge, J.; Jones, E. H.; Mongan, A.; Stout, G. L.; Sert, J. L., Edward Waldo Forbes, Yankee Visionary, Fogg Art Museum, Harvard University, Cambrige (1971).","key":"ref2"},{"unstructured":"[4] Bewer, F., G., A Laboratory for Art. Harvard\u2019s Fogg Museum and the Emergence of Conservation in America, 1900-1950, Harvard Art Museum, Yale University Press, Cambridge, Massachusetts (2010).","key":"ref3"},{"doi-asserted-by":"publisher","unstructured":"[5] Oudheusden, S. \u2018The procedure of wax-resin linings by the painting restorers Johannes Albertus Hesterman (1848-1916) and sons\u2019, CeROArt EGG4 (2014), https:\/\/doi.org\/10.4000\/ceroart.4081.","key":"ref4","DOI":"10.4000\/ceroart.4081"},{"doi-asserted-by":"publisher","unstructured":"[6] Rushfield, R.; Stoner, J. H. (eds.), Conservation of easel paintings, Routledge Series in Conservation and Museology, Routledge, New York (2012).","key":"ref5","DOI":"10.4324\/9780429399916"},{"unstructured":"[7] Duijn, E.; Marvelde, M. \u2018The art of conservation VII: Hopman and De Wild: the historical importance of two Dutch families of restorers\u2019, Burlington Magazine 158(1363) (2016) 812-823.","key":"ref6"},{"unstructured":"[8] Stout, G. L.; Gettens, R.J., \u2018The problem of lining adhesives for paintings\u2019. Technical Studies in the Field of Fine Arts 2(2) (1933-1934) 81-104.","key":"ref7"},{"unstructured":"[9] Bradley, M. C., JR., \u2018The Treatment of Pictures\u2019, Art Technology, Cambridge (1950).","key":"ref8"},{"unstructured":"[10] Rescala, J. J., Restaura\u00e7\u00e3o de Obras de Arte, Pintura\u2013Imaginaria\u2013Obras de talha, Centro Editorial e Did\u00e1tico da UFBA, Salvador (1985).","key":"ref9"},{"unstructured":"[11] Motta, E., Restaura\u00e7\u00e3o de Pinturas em Descolamento, Publica\u00e7\u00f5es do Instituto do Patrim\u00f4nio Hist\u00f3rico e Art\u00edstico Nacional, no. 23, Rio de Janeiro (1969) 13-15.","key":"ref10"},{"unstructured":"[12] Mayumi, R..; Jorente, M. J., \u2018A Industria T\u00eaxtil no Brasil: uma perspectiva hist\u00f3rica e cultural\u2019, ModaPalavra e-Peri\u00f3dico 8(15) (2015) 161.","key":"ref11"},{"unstructured":"[13] Arquivo IPHAN (Instituto do Patrimonio Hist\u00f3rico e Art\u00edstico Nacional), CRBC, caixa no. 08, PT 02, Env.01, Rio de Janeiro (consulta em 01-11-2017).","key":"ref12"},{"unstructured":"[14] Arquivo IPHAN (Instituto do Patrimonio Hist\u00f3rico e Art\u00edstico Nacional), CRBC, caixa no. 03, PT 01, Env.01, Rio de Janeiro (consulta em 16-10-2017).","key":"ref13"},{"unstructured":"[15] Arquivo IPHAN (Instituto do Patrimonio Hist\u00f3rico e Art\u00edstico Nacional, CRBC, caixa no.04, PT 03, Env.02, Rio de Janeiro (consulta em 16-10-2017).","key":"ref14"},{"doi-asserted-by":"publisher","unstructured":"[16] Motta, E., Restaura\u00e7\u00f5es de Obras de Arte 1967-1969, Descri\u00e7\u00e3o de T\u00e9cnicas Adotadas, Publica\u00e7\u00e3o do Minist\u00e9rio da Educa\u00e7\u00e3o e Cultura, Museu Nacional de Belas Artes, Rio de Janeiro (1969).","key":"ref15","DOI":"10.21041\/ra.v4i1.59"},{"unstructured":"[17] Pignatti, G., \u2018The Genesis of Modern Conservation\u2013the Florence Flood Revisited\u2019, Interview with Ezio Buzzegoli ACR Florence December 2016, ICON News, The Institute of Conservation (2017), https:\/\/icon.org.uk\/search\/node\/news%202017 (acesso em 2020-01-07).","key":"ref16"},{"unstructured":"[18] Bergeon, S., Science et patience, ou la resturation des peintures, Editions de la Reunion des Musees Nationaux, Paris (1990).","key":"ref17"}],"container-title":["Conservar Patrim\u00f3nio"],"original-title":["O reentelamento com compostos de cera-resina: o aprendizado de Edson Motta no Fogg Conservation Center e a adapta\u00e7\u00e3o \u00e0 realidade brasileira"],"deposited":{"date-parts":[[2020,11,19]],"date-time":"2020-11-19T10:08:31Z","timestamp":1605780511000},"score":1,"resource":{"primary":{"URL":"https:\/\/conservarpatrimonio.pt\/article\/view\/21395"}},"subtitle":[],"short-title":[],"issued":{"date-parts":[[2020,11,4]]},"references-count":18,"URL":"https:\/\/doi.org\/10.14568\/cp2019015","relation":{},"ISSN":["1646-043X","2182-9942"],"issn-type":[{"type":"print","value":"1646-043X"},{"type":"electronic","value":"2182-9942"}],"subject":[],"published":{"date-parts":[[2020,11,4]]}}}