Museum Lighting A Guide for Conservators and Curators
Museum Lighting A Guide for Conservators and Curators
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Date
2023-02-14
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The Getty Conservation Institute
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ผลงานนี้เผยแพร่ภายใต้ สัญญาอนุญาตครีเอทีฟคอมมอนส์แบบ แสดงที่มา-ไม่ใช้เพื่อการค้า-อนุญาตแบบเดียวกัน 4.0 (CC BY-NC-SA 4.0)
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Abstract
How do museums design attractive and effective lighting while reducing the risk of damage to the objects in their care? This indispensable guide offers practical information for professionals making critical decisions about the display of museum collections. Beginning with an overview of light, color, and vision, Museum Lighting presents the latest science on visibility and deterioration and explores the impact of light on a range of objects from paintings, manuscripts, and photographs to textiles, leather, plastics, and more.David Saunders is an honorary research fellow at the British Museum, where he was keeper of conservation and scientific research until 2015. He was previously in the Scientific Department of the National Gallery, London. He is a fellow of the International Institute of Conservation and of the Society of Antiquaries of London.
Table of contents
Chapter 1: Light, Radiation, and Human Vision
1.1 The Nature of Light
1.2 Light, Color, and the Eye
1.3 White Light
1.4 Seeing Objects
1.5 Perceiving Color
1.6 Factors that Affect Vision--
Chapter 2: Classifying and Measuring Color
2.1 Color Order Systems
2.2 Measuring Color
2.3 Measuring Color Difference--
Chapter 3: Classifying and Measuring Light Sources
3.1 Classifying White Light
3.2 Light and Ultraviolet Measurement
3.3 White Light Sources--
Chapter 4: Light and Ultraviolet Radiation as Agents of Deterioration
4.1 Historical Observations of Light Damage
4.2 Radiation-Induced Processes
4.3 Assessing Vulnerability to Light Damage
4.4 Ranking Vulnerability
4.5 The Effect of Wavelength
4.6 Synergistic Effects--
Chapter 5: Effect of Light and Ultraviolet Radiation on Museumn Objects 125
5.1 Dyes and Pigments 126
5.2 Metals, Stone, Glass, Ceramics, and Enamels
5.3 Wood and Furniture
5.4 Prints and Drawings
5.5 Watercolors
5.6 Books and Manuscripts
5.7 Easel Paintings
5.8 Wall Paintings
5.9 Photographs and Digital Prints
5.10 Textiles, Embroidery, Upholstery, Tapestries, Rugs, and Carpet
5.11 Basketry, Matting, Barkcloth, and Papyrus
5.12 Bone and lvory
5.13 Horn, Tortoiseshell, Hair, Fur, and Quillwork
5.14 Leather and Skin
5.15 Natural History and Paleontology Collections
5.16 Plastics
5.17 Varnishes, Resins, and Coatings
5.18 Conservation Materials--
Chapter 6: Light for Studying and Viewing
6.1 Light Levels and Vision
6.2 Color Temperature, Color Rendering, and Vision
6.3 Age and the Viewer
6.4 Color Preferences--
Chapter 7: Lighting within Museum Practice
7.1 An Outline Chronology of Museum Lighting
7.2 Light Sources-Pros and Cons
7.3 Recommended Light Levels in the Museumn--
Chapter 8: Practical Lighting Design I: Minimizing Damage
8.1 Elimninating Ultraviolet and Infrared Radiation
8.2 Minimizing Light Levels
8.3 Minimizing Light Dose
8.4 Keeping Track of Light--
Chapter 9: Practical Lighting Design I1: Maximizing Visibility
9.1 Adaptation
9.2 Contrast
9.3 Lighting Scenarios
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The Getty Conservation Institute