EDUCATION 2898

Conservation Education in Belgium
by Rui Bordalo

The Kingdom of Belgium is one of the smallest and most densely populated European countries. It is divided into three regions: Flanders, Wallonia and Brussels. In Flanders, roughly the north part of the country, people speak Dutch (Flemish). In Wallonia, the south part of the country, most people speak French. Each region, including Brussels, has its own  government and autonomy but friction between Flemings and Wallons is widely known.

RECOGNISED TRAINING INSTITUTIONS

  École Nationale Supérieure des Arts Visuels de la Cambre

  21 Abbaye de La Cambre - B-1000

    Bruxelles Belgique

    www.lacambre.be (French only)

Short History

Admission

Specialisations   The programme is a full-time training that lasts 5 years and is organised in 2 cycles. The first cycle - 3 years, and 180 ECTS1 credits - corresponds to the Bachelor and the second cycle - 2 years and 120 ECTS1 credits – corresponds to the Master. Each year involves 900 hours of study and classes. During the 5 years the students are compelled to make internal and external internships on their specialisation. The course of Conservation and Restoration offers 4 possible specialisations: painting (vessel and canvas), sculpture, ceramics-glass and paper. The first year the students are introduced to the work of art. They study the technological process and its ageing. The second year of study is focused towards theoretical and practical apprenticeship by the application of different techniques to the works of art. In the final year, the students must prepare a thesis, supervised by a teacher and an external specialist, where they will develop their personal research work.

Internships, International Programs

Laboratory Equipment

Publications

Interview with Georges Dewispelaere

e_conservation magazine interviewed in June 2007 Mr. Georges Dewispelaere, the Head of the Conservation Department of la Cambre. The interview was carried out by email, by Rui Bordalo. You are currently the Head of the Conservation Department of La Cambre, after completing your training in the same school. How did you accomplish it?   After my studies in La Cambre, I started giving lessons (4 years) in education of Conservation-Restoration in an evening academy.

After this I worked for 10 years as professor of Conservation-Restoration of Polychromy. When the head of the department of La Cambre left, I did the official State examinations.

Apart teaching, you have your own workshop. How do these activities work together?

All of the professors involved in Conservation-Restoration have their own workshop. I think it is important to be active in the work field. In my case, I still do work for Museums and privates but it is hard because of the lack of time.

What are the requirements to become a teacher at La Cambre?

You need of course to have the official diploma or sufficient experience in the work field; for what concerns the hierarchy, my superior is the director. I am the superior of the specialised professors (C/R Painting etc). We have also assistants and lecturers. I have a full time employment (12h), the other professors have 7h a week and the assistants have 10h a week. For their requirements, they need the same diploma and/or experience.

Tell us about how the Department of Conservation started.

The Department started because there was no education centre in Belgium. At that time, conservators had their education in the Royal Institute of Cultural Heritage (KIK-IRPA). Our Department was started after discussions between our formal  director, people of different universities and the KIK-IRPA.

Which is the policy of acceptance of the artworks the  laboratories work with?

The works of art which we work on are mostly from Museums or Churches. Sometimes we accept from private owners, if the case is interesting on educational level.

Does the Department charge for the conservation interventions performed?

We charge for the costs of the materials.

Has the school participated in any international projects related with conservation?

Yes. Since some years we work in Syria, in Croatia, France etc. We are working on a project in Cairo-Egypt. In Syria, since two years ago, some of our students and professors have gone to work on icons in a monastery. In Croatia, we have participated since three years ago on conservation projects with the schools of Split (Croatia), Antwerp (Belgium) and Köln (Germany) on a 16th century altarpiece in the Marja Sjun Church on the island of Lopud. Last year, some of our students went to work on the Versailles conservation-restoration project.

Recently the Bologna Process was introduced throughout Europe. Is La Cambre going to introduce it as well?

We are of course involved in Bologna process. It does not change that much for us, except for the diploma delivered after the Bachelor years and the use of ECTS¹ credits, our studies were always spread over 5 years.

La Cambre is member of ENCoRE since 2005. What did this membership represent for the Department?

Till now, nothing. All the proposals of ENCoRE demand time and money, which we do not have.

Could you give us an insight of the admission process? Which are the most important conditions students need to fulfil in order to get admitted?

The admission process has a general part (equal for all the 18 workshops of La Cambre) which is a drawing test and a theoretical test. The rest is specific for our Department: practical tests (copies etc...) related to each speciality we have, theoretical tests (art history, scientific tests…), an interview during which we test the motivation, the preparation, the general knowledge, etc.

Does the Department usually follow the students on their professional life after they leave the school?
 
We keep contact by the way of festivities, happenings, thematic evenings, collaborations on the workfield, and internships.

  Ecole Supérieure des Arts Saint-Luc
  41, bd de la Constitution, B-4020
    Liege, Belgique - ww.saintluc-liege.be

Text based on the information which Ms. Muriel Verbeeck, teacher of philosophy, iconography and research methodology at ESA, kindly provided.

The “École Supérieure des Arts Saint-Luc” (ESA) was established in 1863 and offers Conservation and Restoration training since 1992. Initially the department of Conservation and Restoration of Works of Art, or COA (“Conservation d’Objects d’Art”) as it is usually called, offered a 3 years bachelor degree but later evolved into a “licence” degree in accordance with the European recommendations. According to Ms. Verbeeck “We had quite a struggle before we could change from graduate to licentiate courses and before being able to implement the Bologna process, which finally gives us the appropriate  framework which is needed for teaching this demanding profession: 3 years for a Bachelor’s degree, a Master’s degree and a Master in depth degree (2 years), focusing on modern techniques and material".

Specialisations

Right from the beginning, the department comprised the two specialisations which are currently available: painting and ceramics. In the first year, the students are introduced to both specialisations and to the principles of Conservation and Restoration. The choice for one specialisation is only to be made in the second year, when the students are also compelled to make internships in private conservation companies or in Museums. The fifth year offers the possibility to obtain a complementary specialisation in modern and contemporary techniques and materials. This Specialised Master combines two approaches: pedagogic and in depth, this last being a preparation for the PhD. ESA is giving 3 x 60 credits1 for the first cycle and 120 credits for the Master in Depth degree.

Internal Structure

Practical courses and restoration

Ceramics
Full professor: Ms. Viviane Bechoux (ceramics restorer)
Professor (and assistant): Ms. Valérie Rousseau (ceramics restorer)
Assistant and lecturer: Ms. Anne-Sophie Dagneau (ceramics restorer)
Lecturer: Mr. Johan Janssens (ceramics restorer)

Paintings
Full professors: Mr. Olivier Verheyden, Ms. Sophie Moreaux (paintings restorers)
Assistants and lecturers: Mr. Nico Broers, Ms. Inge Noppe (paintings restorers)

Common art techniques courses
Professors: Mr. Benoît Higny, Mr. Charly Vetro, Jean-Marie Bertrand

Art history courses
Professors: Mr. Xavier Folville, Ms. Alexia Creusen

Science courses
Professors: Ms. Nadine Govers, Mr. Claude Totelin
Lecturer: Ms. Anne Darimont

Museology, internship: Ms. Noémie Drouguet

General courses
Semeiology: Mr. Theo Hachez
Literature: Mr. Pierre Collin
Law: Ms. Chantal Herin
Aesthetics, Iconography, Research methodology: Ms. Muriel Verbeeck

Recently an interface between both departments and the outside world has been created: the CeROA-X unit coordinates projects and controls the good circulation of information.

Admission

The number of admitted students each year at ESA is between 10 and 20. According to Ms. Muriel Verbeeck, “The admission exam is not intended for a selection, but rather shows future students what the profession is about. We have about 40 exam participants; about thirty stick to their choice after having taken the mainly practical tests. At the end of the Bachelor’s training, the number of students obtaining a degree lies between a dozen and twenty. At the licentiate level (now called Master’s level) about a dozen students obtain a degree, all specialisations together.”

Internships, International Programs

The school accepts foreign students and there is no difference concerning the regime they have, except for possible   exemptions for the already acquired ECTS credits. ESA has Erasmus exchanges with Spain, Portugal, Italy, Romania and Poland.
 
Laboratory Equipment

ESA has 4 laboratories: chemistry, photography, testing laboratory, ceramic technologies laboratory (processing, baking, enamelling, ceramography). These are equipped with binocular microscopes, microscopes on swingingarm stands, polarizing and epifluorescent microscopes, infrared cameras, accelerated weathering system (UV) and FTIR spectrometer. For performing other tests, they collaborate with different institutes and companies.

Publications

ESA’s is planning to publish a biannual bulletin, CeROArt, on subjects related to conservation, exposition, restoration of artworks. The release of the first edition is planned for October 2007. In certain projects, ESA cooperates with external partners: http://web.mac.com/ceroart. Also, the school plans to podcast every autumn prestige conferences which will be posted on the school’s website in the course of next year.

Interview with Muriel Verbeeck Ms. Muriel Verbeeck is a trained historian, Doctor of Philosophy and Master of Information Sciences and Documentation, curently professor at “École Supérieure des Arts” (ESA), St. Luc and editor of the CeROArt magazine. We thank her for the kindness in answering all our questions. The interview was carried out by email by Rui Bordalo, in on July 2007.   ESA was established back in 1863 but its Conservation Department was only introduced recently, in 1992. What are the circumstances of its creation?

Our institute offered at that time several three year graduate courses in Fine Arts. Right from the start we also decided to develop courses to sensitize artists to the issues of conservation. Very soon however, this framework became too narrow, due to educational and professional requirements, like they were defined by the E.C.C.O. The reform of higher education gave us the opportunity to adapt our courses and their contents in order to offer licentiate courses over a period of four years; anyway, we were able to implement the Bologna process, which allows us to inaugurate a master’s degree with contemporary materials specialisation. Thus, the history of the ESA conservation departments is one of a long progression, which lies at the origin of our vitality.

Before this, where were the Belgium conservators going to be trained?
Usually two important organisations come to mind: the Higher Institute of Antwerp, in Flanders, and the La Cambre Institute, in the “Brussels-Capital Region” In the Walloon Region there was nothing comparable, nor anything like what we wanted to offer. Our niche is very specific – just like our educational approach, i.e. centered around the student.

What are the requirements to become a teacher at ESA?

Because of the slow evolution of our department we were able to bring together very specialised staff members, specifically employed according to the needs of the new courses. This is mainly the case for museology and preventive conservation, but also for scientific courses and material technology, in which field we receive advice from a plastic material specialist. Several professors combine their practical expertise with a Master’s and/or Doctor’s degree in History of Art or Human Sciences. The assistants coming from our own institute have also obtained a licentiate or additional master’s degree, either in Belgium or abroad.

Yes, the workshop professors are field practitioners, who are or have been performing until recently their activity independently. Thus they keep in touch with the practical evolution of their profession. This continuous update of their experience is very important to us, given our educational concept.

Which is the policy of acceptance of works of art for the laboratories?

We do not accept privately owned works of art. However, we take care of works of art from museums or institutions.

Does the Department charge for the conservation interventions performed?

The charged intervention is limited to the costs of the material used.

Has the school participated in any international projects related with conservation?

Not yet… but we’re currently in the last phase of two cooperation projects.

Why did your school decide to implement the Bologna process for the Conservation Department?

Since the beginning and throughout the evolution of the division we focused on the E.C.C.O. recommendations. Bologna is for us one of the means to achieve that goal. We find there by the way values that are pedagogically important to us, like education centered around the student, and an implementation flexibility facilitating initiatives and innovations. There is one downer however… the limited financial means often dampen enthusiasm.

What changes did the Bologna process bring to the Department?
 
The reform is being introduced one year after another. We’ve now finished awarding a diploma to our last licentiates (4 years), at the same time as we awarded the first Bachelor’s degrees. In the coming academic year we will start with our very first Master’s degree year. At the present time, your Department offers 3 degrees of 3, 4 and 5 years.

Which are the differences between them and why such an organisation?

Our degrees after 3 and 5 years correspond to what is awarded in other institutions. The Master’s degree after 4 years is a particularity, which we inherited from our evolution. Few students choose to stop there; indeed, we offer a specialisation in contemporary material in the 5th year, as well as many workshops, internships, but above all we offer assistance in writing a thesis, which is the final element of our theoretical and practical educational aims.

The “French Community” of Belgium has recently created the “PhD Institute No. 20”, which deals with “art and art sciences”. We would like to cooperate with different academic institutions, in Belgium and abroad, and develop a specific module of courses, which would consist of workshops, colloquiums, conferences. Our focus point of research, already developed during workshops, is axiology, i.e. raising questions about the values which determine the choice of conservation, restoration, but also the choice of working with objects of art. Indeed, the extension of the working field of conservation from works of art to objects of art, raises questions, not only related to contemporary art, but to the whole of cultural assets, which are by nature heterogeneous. Any person or institution concerned by this topic may contact us right away: the magazine CeROArt (www.ceroart.org) will discuss this topic in its first edition of October and there will be an international colloquium on this subject in autumn 2009.

Is ESA a member of ENCore?

We are not an ENCore member, but we have asked for a partnership.

How did CeROArt project start and what are your expectations?

The project grew out of a need: there is no platform in French to enable a dialog between conservators, restorers, museologists, who are all confronted with difficult professional problems regarding works of art (from the piece of ceramics to the contemporary painting, and in fields like mobile industrial patrimony, object design, books, ethnologic objects, scientific collections…). Fortunately, there is the Internet which makes it possible to create a “melting pot of art and culture” that can give information about what is thought (research), what is planned (projects), what is achieved (interventions). Out of the confrontation of diverse experiences ideas can grow, exchanges and collaboration can take place. Our bet is that communication stimulates creativity - and the conservation profession is more than ever in need of  creativity and inventiveness when it comes to proposing solutions for the (many) problems it gets confronted with.

Could you give an insight into the admission process?

ESA’s admission exam is not really an instrument of selection. Contrary to other institutes, we do not expect specific experience or knowledge in the fields of conservation-restoration, art or history of art: we want to stimulate an existing passion which should entice students to choose any course. However, we do evaluate students’ capacities using several practical tests, which help them understand color and material and we ask for his or her motivation during an interview. In fact the aim of the tests is to assess those qualities of the students which we find indispensable: dexterity, rigor, analytical spirit… but also sensitivity, open-mindedness and personal engagement.

Does the Department usually follow the students on their professional life after graduation?

Yes, with pleasure… some work currently on their own, others within an institution; many also decided to specialise, especially in archeometry. We follow their career with much interest... and satisfaction: for ESA, like for Montaigne, teaching is not filling a well, but lighting a fire. Those going into research show us that we have accomplished this task, which is so important for us.

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STUDENT OPINION
Interview with Isabelle Pirotte

Isabelle Pirotte is a graduate student of ESA Saint-Luc. She finished her studies this year, specialising in conservation and restoration of ceramic and glass. Her thesis focused of the study of Léopold and Rudolf’s glass models of sea  invertebrates from the zoological Museum of Liège University.

Why did you choose to study conservation?

I like association between craft side and reflection. Beautiful objects fascinated me, I like their story and to have the privilege of taking care of them. This is why I chose this profession.

Why did you choose ESA Saint Luc over the other universities?

ESA Saint-Luc is the nearest school from my home and courses are given in French, my native language. This school is also open to 18 years students who come from secondary school and without other training.

Please describe your experience during the admission process.

It was entirely accessible and I didn’t feel any particular difficult. It gave me much more desire to undertake these courses.

How tough was the competition on the admission?

I didn’t feel any competition.

Which are the costs involved to study at ESA?

Fees per year are about 750 euros. There are also fees about 200 euros to buy equipment and books. Other fees concern the training period.

Which are your plans after graduation?

I would like to open my own workshop. I’ve already restored a Chinese stoneware dragon and now I’m working on a glass boat. In one month I’ll work on Gallo-Roman ceramics, which belong to French Community, preserved in Gallo-Roman Museum in Ath. I’ve also received an offer to work at zoological Museum of Liège University to continue my work on Blaschka’s glass models that I’ve studied in my thesis.

  Royal Academy of Fine Arts (Antwerp)
  Blindestraat 9-13,
    2000 Antwerpen, Belgique
    www.academieantwerpen.ha.be

The Royal Academy of Fine Arts (Koninklijke Academie voor Schone Kunsten), which became a department within Hogeschool Antwerpen, offers Visual Art and Conservation-Restoration studies. The programme has its roots in the Higher Institute of Fine Arts in Antwerp where Conservation was introduced as optional in 1988.
The admission test which students must undertake is divided in three parts: an observation test, a colour or modelling test and a motivation interview. As stated in their website “the education is tertiary, higher but non-university”. The programme is divided in four years in 2 cycles of 3+1 years (180+60 ECTS¹ credits). The students obtain a Bachelor in Conservation and Restoration after they complete the first cycle and a Master in Conservation and Restoration after completing the second cycle. The Royal Academy offers 10 specialisations organised in 10 studios: Glass, Wood/Polychromy, Ceramics, Metals, Mural paintings, Paper, Paintings/ Polychromy, Stone/Polychromy, Textile and Visual media.

OTHER SCHOOLS - QUICK VIEW

In Belgium there are some other training courses in conservation that do not offer a university level degree or they only  give short courses, with the duration of less than 5 years, thus they are classified as non-recognised courses. In this section we are not making a judgement of value, we simply list all the available institutions, according with the international accepted criteria (such as those of E.C.C.O. among others). Thus, a course is classified as nonrecognised when its degree is not enough to achieve, by international standards, the professional level of conservator-restorers.

  IFAPME
  www.formatpme.be (French only)

IFAPME stands for “Institut wallon de Formation en Alternance et des indépendants et Petites et Moyennes Entreprises”. IFAPME is a network of 9 training centres all over the Walloon region which offers different types of training such as  apprenticeship and life long training in over 200 areas, mostly focused on training for small and medium enterprises. FORMATPME, located in Limal (Wavre), is one of this network centres that offers conservation courses in the following areas: paper, furniture and easel paintings. The course is organised in 3 years. The students must undertake an internship and prepare a final work in the end of their last year. FORMATPME also organises short courses and conferences.

  SYNTRA LIMBURG
  www.opleidingen.syntra-limburg.be (Dutch only)

SYNTRA Limburg is a school that promotes entrepreneurship assuring professional courses in all sectors. The school is organised in 7 campuses in the region of Limburg. In the campus of Tongeren, the school organises long training courses in conservation of paper and furniture (no longer available at this point). A candidate must be 18 years-old in order to attend them. The course paper conservation is developed in 3 modules: paper study, paper chemistry and paper restoration. The  school also offers short-term courses on restoration of paper, paintings and scientific research.

Notes:

1. The ECTS system is widely used in all Europe. It stands for “European Credit Transfer and Accumulation System”, was  introduced in 1989 and is based on the student workload that is required to complete the course. For more information please visit:

http://ec.europa.eu/education/programmes/socrates/ects/index_en.html