Joyce Hill Stoner isRosenberg Professor in the Art Conservation Department at the University of Delaware/Winterthur Museum, where she has taught paintings conservation since 1976. She was awarded the American Institute for Conservation's Lifetime Achievement award in 2003 and the CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation in 2011.

Rebecca Rushfield is a New York City-based conservation consultant with an interest in the history and literature of the field. She is active in the work of the American Institute for Conservation and the ICOM Committee for Conservation, and received the Gettens Award for outstanding service to the AIC.

Part I: Technical Art History, Examination, Documentation, and Scientific Analysis 1. Art Technological Source Research: Documentary Sources on European Painting to the Twentieth Century, with Appendices I-VII 2. Exploring the Grammar of Oil Paint through the use of Historically Accurate Reconstructions 3. Collecting and Archiving Information from Living Artists for the Conservation of Contemporary Art A History of Western Easel Painting Materials from the Early Renaissance to 2020 4. History and Use of Panels or other Rigid Supports for Easel Paintings 5. History of Fabric Supports 6. Stretchers, Tensioning, and Attachments 7. Grounds, 1400-1900 Including: Grounds in the Twentieth Century and Beyond 8. Pigments in Western Easel Painting 9. Ageing and Deterioration of Traditional Oil and Tempera Paints 10. Modern Paints 10.1 Modern Synthetic Polymer Paints 10.2 Modern Oil Paints 11. A Brief Survey of Historical Varnishes 12. Varnishing of Acrylic Paintings by Artists Techniques of Examination and Documentation used by the Conservator and Conservation Scientist 13. Written Documentation for Paintings Conservation 14. Image Documentation for Paintings Conservation 15. Notes on the History of Conservation Documentation: Examples from the UK and USA 16. The Classification of Craquelure Patterns 17. The Technical Examination and Documentation of Easel Paintings 18. Optical Microscopy 19. Identification of Textile Fibres found in Common Painting Supports 20. Cross-Section Microscopy Analysis and Fluorescent Staining 21. A History of Early Scientific Examination and Analysis of Painting Materials ca.1780 to the Mid-Twentieth Century 22. Research and Analysis of the Materials of Easel Paintings Part II: Methods and Approaches For The Treatment and Care of Easel Paintings Structural Conservation of Easel Paintings 23. Consolidation of Flaking Paint and Ground 24. Tear Mending and other Structural Treatments of Canvas Paintings, before or instead of Lining 25. Lining Easel Paintings 26. The Structural Conservation of Paintings on Wooden Panel Supports The Cleaning of Easel Paintings 27. Picture Cleaning: Positivism and Metaphysics 28. Research on the Pettenkofer Method and the Historical Understanding of Paint Film Swelling and Interaction 29. Considerations on Removing or Retaining Overpainted Additions and Alterations 30. Aqueous Methods for the Cleaning Of Paintings 31. Removal of Varnish: Organic Solvents as Cleaning Agents 32. Case Study in the use of Lasers to remove Overpaint from Ad Reinhardt's Abstract Painting, 1960-66 33. Cleaning Concerns for Acrylic Emulsion Paints Compensation: Filling, Retouching/Inpainting, Varnishing (Or Not) 34. History of Visual Compensation for Paintings 35. Filling 36. The Imitative Retouching of Easel Paintings 37. Varnishing as Part of the Conservation Treatment of Easel Paintings Part III: Preventive Conservation, Health and Safety, Outreach, and Professional Organizations 38. Travelling Exhibitions and Transporting Paintings 39. Storage of Easel Paintings 40. The Lighting of Easel Paintings 41. Understanding the Deterioration of Paintings by Microorganisms and Insects 42. The Sustainable Conservation Management of Exhibitions 43. Emergency Preparedness and Recovery 44. Framing, Glazing, Backing, and Hanging of Paintings on Canvas 45. Framing and Microclimate Enclosures for Panel Paintings 46. 10 Health and Safety Concerns in the Paintings Conservation Studio 47. International Public Outreach Projects 48. Recommending Materials to Artists 49. Conservation Organizations and Professional Standards