This article explains the importance of the step between new technological advances and their incorporation in the conservator’s studio. Sharing information is vital between hands-on conservators and investigators. It particularly concentrates on varnishes and how new available materials have proved to be useful. After their application in many different paintings, certain reflections have been made and conclusions have been drawn about their usefulness for conservators. http://www.e-conservationline.com/content/view/568/145/

Budget is an essential factor in any project no matter how great or small; indeed without it restoration would cease to exist as an activity. However, the values which we most consider to be important in conservation decision making, such as the historic, artistic, symbolic or scientific values, have a difficult job at being included in the accountability of conservation projects which are analysed and processed according to economical values. Irreconcilable differences exist between the disparate value systems in the worlds of conservation and economics. At the same time however, a meeting point is both inevitable and necessary. The problems arise when we seek to find a correlation between these very distinct yet indispensable values. http://www.e-conservationline.com/content/view/1005/

It occurred to me that many of the present day dilemmas are due to the creation of artworks that have a limited life-span. Human beings had previously tended to create works of art that perjure time during many generations, and therefore it is now difficult to come to terms with objects that have a lifespan (or ‘life and death’) that may be witnessed within a single generation. Conservators, curators and art historians do not want to take on the responsibility of euthanasia decisions about the finality of artworks that have been intentionally made with ephemeral materials. Needless to say, this is without mentioning the economical questions that arise from the conclusive and final "death" of a work of art or the prestige and status anxiety created by its loss in the public sphere. http://www.e-conservationline.com/content/view/606/184/

A visit to Salvador Muñoz-Viñas’ work place is a discovery akin to an explorers encounter with a long sought-after treasure. The Arts and Conservation building of the UPV is circular and reaches out its architectural enveloping arms like St. Peters forecourt, to snuggle in the rasta-haired arts students along with the white cloaked conservation researchers. Professor Muñoz-Viñas' chambers, his deskroom and laboratory are dimmed and silent compared to the harsh revealing Spanish sun and the convivial chaotic ambience outside. Salvador strikes one as quietly spoken, a listener rather than a dogmatic teacher; elegant and thoughtful, perhaps the archetype of the absent-minded professor. He is however a stream-lined thinker, with a terrific capacity to anchor things straight to their axial point and definitely doesn’t waste his words… http://www.e-conservationline.com/content/view/627/195/

Precursors come from the realm of the Arts, not the Conservation sphere: conservators, the problem solvers, now look towards defining the challenging prospect of the future in conservation ethics and dilemmas. http://www.e-conservationline.com/content/view/897/298/

More and more, E.C.C.O. is seen throughout Europe to be an authoritative voice, with an entirely apolitical character. The recommendations of E.C.C.O. guide much decision-making at a high level in each Member State. It is important that Spain is correctly represented at a European level because it is one of the countries that has the richest and most diversified cultural patrimonies. Unity is important for one single aim: the conservation and restoration of our patrimony. http://www.e-conservationline.com/content/view/622/207/