Earthenware speciality

The Earthenware speciality comprises two workshops, one devoted to metal objects, the other to ceramic, enamel and glass objects. They work together on a regular basis, given the specific nature of the different types of objects: art, archaeological, scientific, and technical objects, which are often composite and require a wide range of knowledge and technical skills to restore.

The Earthenware and glassware workshop is supervised by Martine Bailly and Marie-Anne Loeper-Attia.

Martine Bailly is responsible for the speciality, and teaches and coordinates teaching in the conservation-restoration of ceramics, enamel and glass. A freelance conservator- restorer, she works alone or as part of a team for many French heritage institutions in Paris and the regions.

Marie-Anne Loeper-Attia is assistant to the head of the workshop, and teaches and coordinates teaching in the conservation-restoration of metal objects. She is also in charge of conservation-restoration at the research and restoration laboratory of the Musée de la Cité de la Musique - Philharmonie de Paris.

Work in workshop

Conservation-restoration is taught firstly through exercises in observation and description (condition reporting), followed by interpretation (diagnosis, prognosis) and then by the implementation of treatments on objects entrusted to the department by public institutions. Students thus work in a professional context, in their relation with the institution and the person responsible for the objects.

After a general introduction to these materials and to techniques of creation, for example through practising production techniques, in the second year students begin the specialised training of their choice which is specific to each of these studios.

It is possible to move on to cross-disciplinary specialisations, through the choice of internships and thesis subject, such as the restoration of archaeological objects, scientific and technical instruments, industrial heritage, etc.

Lafitte, Aude, "Rapport d’étude et de traitement. Coupe polylobée à deux anses [S.n.]"

From left to right:

Gaitann, Fiona; Freydefont, Léa, "Machine à coudre Ch.Raymond [Inp2020.0.2]", Médiathèque numérique de l'Inp, https://mediatheque-numerique.inp.fr/documentation-oeuvres/rapports-restauration/machine-coudre-chraymond-inp202002

Lafitte, Aude, "Rapport d’étude et de traitement. Coupe polylobée à deux anses [S.n.]", Médiathèque numérique de l'Inp, https://mediatheque-numerique.inp.fr/documentation-oeuvres/rapports-restauration/rapport-detude-traitement-coupe-polylobee-deux-anses-sn

Internships and field-schools

During their 3rd year, student conservators-restorers have a 3-month internship in France at a public institution, a regional or local studio, a service with national competence or with an independent restorer. In their 4th year, they add to their professional experience with a 22-week practical internship in an institutional or private restoration studio abroad.

This is an opportunity for them to put their knowledge into practice, to acquire new skills and build a professional network while discovering other methods and considerations.

At the same time, the students attend field-schools.

From their first year of training, students in conservation-restoration participate in preventive conservation projects. Over the next four years, they interact in field-schools in France and abroad thus giving them a first hands-on experience under the supervision of the coordinators of each of the specialties.

This unique pedagogical approach received the EU Cultural Heritage Prize / Europa Nostra Award in 2018.

Since 1991, the Institut national du patrimoine has held 233 field schools in France and abroad, at major institutions such as the Louvre, the Sorbonne and the Petit Palais, as well as in the provinces, such as in Lourdes, Dijon and Strasbourg, and outside France, in the Lebanon, Italy, Senegal, Albania, India and China.

Master's thesis

The fifth year is the degree year, during which the student is placed in a professional situation and manages a conservation-restoration project independently under the guidance of a thesis director, the head of the workshop, their assistant or an external advisor.