Tine Frøysaker

NIKU publications: https://niku.no/publikasjoner/

• Streeton, Noëlle Lynn Wenger; Caruso, Francesco; Steindal, Calin Constantin; Frøysaker, Tine; Platania, Elena & Maguregui, Maite (2025). Revealing Saint Anne with the Virgin and Child: Decoding Damage Via Non-Invasive Scientific Investigations. In Streeton, Noëlle Lynn Wenger; Frøysaker, Tine & Bjerregaard, Peter (Ed.), Sacred Medieval Objects and Their Afterlives in Scandinavia. De Gruyter Brill. ISSN 9789004707573. p. 163–198. doi: 10.1163/9789004712034_007. Full text in Research Archive Show summary

  Saint Anne with the Virgin and Child came to the Museum of Cultural History at the University of Oslo in 1915. The sculptural group has no solid provenance, and no documentation prior to the 1930s, after the museum restorer/handyman Louis Smestad removed heavy secondary paints that covered all three figures, which prior to 1915 had been extensively repaired. Smestad revealed gilding, paint and/or ground layers that are fragmented, worn or altogether missing down to the wooden support. The object, in short, is difficult to read. Building on Chapter 5 in this volume, which addresses the original functions of this object in relation to late medieval piety, this chapter focuses on Smestad’s notes and recent analytical imaging and surface investigations. Here, attention is given to Smestad’s description of his work, and to new analytical results that can offer a clearer understanding of how the original polychromy might have looked, how the object has been damaged and the impact of Smestad’s treatment. The authors interpret data from portable spectroscopies (XRF, Raman and DRIFT) in tandem with insights offered by macro-imaging and X-radiography. In advance of sampling and reconstructions, the results of this work facilitate a new appreciation for the dramatic history of this object and its damaged polychromy. The results can enhance the experience of current audiences faced with this fragmented yet intriguing object in a museum gallery.

• Frøysaker, Tine; Streeton, Noëlle Lynn Wenger; Lukesova, Hana; Bøhme, Alexandra; Hajdas, Irka & Caruso, Francesco (2025). Interpreting and Misinterpreting the Appearances of Age in Two Painted Processional Banners. In Streeton, Noëlle Lynn Wenger; Frøysaker, Tine & Bjerregaard, Peter (Ed.), Sacred Medieval Objects and Their Afterlives in Scandinavia. De Gruyter Brill. ISSN 9789004707573. p. 199–237. doi: 10.1163/9789004712034_008. Full text in Research Archive Show summary

  The processional banners now in Bergen and Växjö belonged to rural churches at Lavik (western Norway) and Hemmesjö (southern Sweden) before they were transferred to newly formed museums in the nineteenth century. Since this time, historians have treasured them both for their age and rarity. The two-sided painted textile in Växjö is one of seven banners to survive in Sweden, while that in Bergen is the only medieval banner of its kind in Norway. The banner from Lavik has furthermore been preserved with a pole. Given the scarcity of medieval banners in Scandinavia, art historians, archaeologists and curators have devoted considerable efforts to contextualising them, their iconography and their uses during processions and feast days. Nevertheless, and for so many reasons, past publications miscommunicate the features of aged paintings on textile and underestimate the significance of their physical condition. This chapter considers how scholars have relied on appearance to date them since the 1820s, well before recently generated analytical data for the banners and the pole. These data offer a foundation for adjusting current opinions on their dates, which up to now have relied on appearances of surfaces, style and iconography alone. However, the further the investigations have progressed and the more evidence that the research group has amassed, the more puzzling their appearances have become. This work therefore offers a springboard for future radiocarbon dating of lead-containing colours.

• Cutajar, Jan Dariusz; Steindal, Calin Constantin; Caruso, Francesco; Joseph, Edith & Frøysaker, Tine (2024). Spectral- and image-based metrics for evaluating cleaning tests on unvarnished painted surfaces. Preprints. ISSN 2310-287X. doi: 10.20944/preprints202407.0896.v2. Full text in Research Archive
• Cutajar, Jan Dariusz; Steindal, Calin Constantin; Caruso, Francesco; Joseph, Edith & Frøysaker, Tine (2024). Spectral- and Image-Based Metrics for Evaluating Cleaning Tests on Unvarnished Painted Surfaces. Coatings. 14(8). doi: 10.3390/coatings14081040. Full text in Research Archive Show summary

  Despite advances in conservation–restoration treatments, most surface cleaning tests are subjectively evaluated. Scores according to qualitative criteria are employed to assess results, but these can vary by user and context. This paper presents a range of cleaning efficacy and homogeneity evaluation metrics for appraising cleaning trials, which minimise user bias by measuring quantifiable changes in the appearance and characteristic spectral properties of surfaces. The metrics are based on various imaging techniques (optical imaging by photography using visible light (VIS); spectral imaging in the visible-to-near-infrared (VNIR) and shortwave infrared (SWIR) ranges; chemical imaging by Fourier transform infrared (FTIR) spectral mapping in the mid-infrared (MIR) range; and scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDX) element mapping). They are complemented by appearance measurements (glossimetry and colourimetry). As a case study showcasing the low-cost to high-end metrics, agar gel spray cleaning tests on exposed ground and unvarnished oil paint mock-ups are reported. The evaluation metrics indicated that spraying agar (prepared with citric acid in ammonium hydroxide) at a surface-tailored pH was as a safe candidate for efficacious and homogenous soiling removal on water-sensitive oil paint and protein-bound ground. Further research is required to identify a gel-based cleaning system for oil-bound grounds.

• Grøntoft, Terje & Frøysaker, Tine (2022). Estimation of the historical dry deposition of air pollution indoors to the monumental paintings by Edvard Munch in the University Aula, in Oslo, Norway. Heritage Science. 10(1). doi: 10.1186/s40494-022-00673-x. Full text in Research Archive Show summary

  The historical (1835–2020) deposition of major air pollutants (SO2, NOx, O3 and PM2.5) indoors, as represented by the monumental Edvard Munch paintings (c. 220 m2) installed in 1916 in the Oslo University Aula in Norway, were approximated from the outdoor air concentrations, indoor to outdoor concentration ratios and dry deposition velocities. The annual deposition of the pollutants to the paintings was found to have been 4–25 times lower than has been reported to buildings outdoors in the urban background in the centre of Oslo. It reflected the outdoor deposition but varied less, from 0.3 to 1.2 g m−2 a−1. The accumulated deposition since 1916, and then not considering the regularly performed cleaning of the paintings, was found to have been 43 ± 13 g m−2, and 110 ± 40 g m−2 in a similar situation since 1835. The ozone deposition, and the PM2.5 deposition before the 1960s, were a relatively larger part of the accumulated total indoor (to the paintings) than reported outdoor deposition. About 18 and 33 times more O3 than NOx and PM2.5 deposition was estimated to the paintings in 2020, as compared to the about similar reported outdoor dry deposition of O3 and NOx. The deposition of PM2.5 to the paintings was probably reduced with about 62% (50–80%) after installation of mechanical filtration in 1975 and was estimated to be 0.011 (± 0.006) g m−2 in 2020.

• Ford, Thierry Olivier; Frøysaker, Tine & Hendriks, Ella (2022). Bridging the gap between the Munch room display and the conservation narrative : a decision-making model. ArtMatters International Journal For Technical Art History. 7, p. 12–28. Full text in Research Archive
• Garrappa, Silvia; Frøysaker, Tine; Streeton, Noëlle Lynn Wenger; Hradilac, David; Platania, Elena & Beltinger, Karoline [Show all 7 contributors for this article] (2022). Micro-spectroscopic study of late 19th-early 20th century tube paints. Spectrochimica Acta Part A - Molecular and Biomolecular Spectroscopy. ISSN 1386-1425. 279. doi: 10.1016/j.saa.2022.121414. Full text in Research Archive
• Cutajar, Jan Dariusz; Babini, Agnese; Deborah, Hilda; Hardeberg, Jon Yngve; Joseph, Edith & Frøysaker, Tine (2022). Hyperspectral Imaging Analyses of Cleaning Tests on Edvard Munch's Monumental Aula Paintings. Studies in Conservation. ISSN 0039-3630. 67(1), p. 59–68. doi: 10.1080/00393630.2022.2054617. Full text in Research Archive Show summary

  The development of innovative applications of imaging technologies for monitoring change in cultural heritage objects is central to the CHANGE-ITN project. Within this framework, the authors’ ongoing work targets the harnessing of hyperspectral imaging (HSI) for the documentation of cleaning treatments on the monumental University of Oslo Aula unvarnished oil paintings on canvas (1909–1916) by Edvard Munch (1863–1944). This is applicable to unvarnished paint surfaces in general. Particularly, this paper evaluates HSI techniques for the investigation of cleaning tests carried out in 2008, which targeted the removal of visible, ingrained particulate matter from Munch's unvarnished oil paints and exposed grounds on Kjemi (1914–1916). An exploratory in situ HSI campaign using visible to near-infrared (VNIR) and short-wave infrared (SWIR) cameras was undertaken to capture the soiled or previously cleaned areas on the painting's surface, with comparisons to analogous mock-ups. Principal component analysis (PCA) was used to extract information about possible trends with respect to the soiling. Results indicate that in both VNIR and SWIR ranges, the intensity of reflectance can be used to discriminate statistically between soiled and unsoiled/cleaned areas, whereas in SWIR, combination and first overtone bands of oil peaks can also serve as markers.

• Stoveland, Lena Porsmo; Frøysaker, Tine; Stols-Witlox, Maartje; Grøntoft, Terje; Steindal, Calin Constantin & Madden, Odile [Show all 7 contributors for this article] (2021). Evaluation of novel cleaning systems on mock-ups of unvarnished oil paint and chalk-glue ground within the Munch Aula Paintings Project. Heritage Science. 9(144). doi: 10.1186/s40494-021-00599-w. Full text in Research Archive Show summary

  Low-risk removal of embedded surface soiling on delicate heritage objects can require novel alternatives to traditional cleaning systems. Edvard Munch’s monumental Aula paintings (1911–16) have a long history of exposure to atmospheric pollution and cleaning campaigns that have compromised the appearance and the condition of these important artworks. Soiling removal from porous and water-sensitive, unvarnished oil paintings continues to be a major conservation challenge. This paper presents the approach and results of research into the effect and efficiency of three novel systems used for soiling removal: soft particle blasting, CO2-snow blasting, and Nanorestore Gel® Dry and Peggy series hydrogels. Cleaning tests were performed on accelerated-aged and artificially soiled mock-ups consisting of unvarnished oil paint and chalk-glue grounds. Visual and analytical assessment (magnification using a light microscope and scanning electron microscope, as well as colour- and gloss measurement) was carried out before and after mock-up cleaning tests and the results were compared to those obtained using the dry polyurethane sponges employed in the most recent Aula surface cleaning campaign (2009–11). Although the results varied, the Nanorestore Gel® series proved promising with respect to improved soiling removal efficiency, and reduced pigment loss for the water-sensitive surfaces evaluated, compared to dry sponges.

• Ford, Thierry; Rizzo, Adriana; Hendriks, Ella; Frøysaker, Tine & Caruso, Francesco (2019). A non-invasive screening study of varnishes applied to three paintings by Edvard Munch using portable diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS). Heritage Science. 7(84). doi: 10.1186/s40494-019-0327-1. Full text in Research Archive Show summary

  The availability and popularity of portable non-invasive instrumentation for the study of paintings has increased due to a shift away from using micro-invasive techniques. Fourier transform infrared spectroscopy (FTIR) is a successful and established technique for the characterisation of organic materials in varnish coatings and paint films. In addition, portable FTIR (pFTIR) spectrometers allow for non-invasive in situ analyses. This overcomes the disadvantages associated with micro-sampling and reproducibility issues encountered in analysis at a specific spot, as pFTIR enables examination of the whole painting. However, the practical applications and capabilities of pFTIR as a suitable screening method for the chemical characterization of varnish coatings in painting collections require systematic evaluation. This study involves a selection of three paintings from the collection of 57 works by Edvard Munch belonging to The National Museum of Art in Norway. Its focus is the identification of the non-original varnish types that were applied by the museum. Between 1909 and 1993, the Museum was embroiled in a varnish controversy due to their application of, first natural and then synthetic, varnish coatings to 48 of these Munch paintings. A series of public debates arose about the Museum’s varnishing practice, which ran counter to the artist’s usual custom of leaving paint surfaces unvarnished (or occasional locally varnished). The three paintings were screened using a pFTIR spectrometer. Different regions of the varnished and unvarnished painted surfaces were analysed with Portable Diffuse Reflectance Infrared Fourier Transform Spectroscopy (DRIFTS). These paintings date from 1887 to 1891 and are documented as having been treated at the Museum with one of the following types of natural or low-molecular-weight synthetic varnish coatings: dammar, mastic, polycyclohexanone (Laropal K 80 from BASF) and reduced or hydrogenated cyclohexanone-co-methyl-cyclohexanone (MS2A from Howards of Ilford). Surface microscopy and multispectral imaging of the varnished surfaces initially assisted the mapping and choice of areas relevant for the portable DRIFTS measurements. Portable X-Ray fluorescence and surface gloss readings were also made at the pFTIR spot locations to complement the results. Using known dry varnish samples, pFTIR reference spectra were obtained and a diffuse reflectance pFTIR spectral library was also created from known historic batches of varnishes used by the museum. These were then compared with the in-situ pFTIR surface readings taken from the paintings together with additional spectra acquired from a selected number of micro-samples from the same spot locations. The preliminary measurements provided an insight into the capabilities, limitations and practical aspects of using portable DRIFTS for the identification of varnish coatings present in this specific selection of Munch paintings.

• Frøysaker, Tine; Schönemann, Anna; Gernert, Ulrich & Stoveland, Lena Porsmo (2019). Past and current examinations of ground layers in Edvard Munch’s canvas paintings. Zeitschrift für Kunsttechnologie und Konservierung (ZKK). ISSN 0931-7198. 33(2), p. 285–301. Full text in Research Archive
• Stoveland, Lena Porsmo; Ormsby, Bronwyn; Stols-Witlox, Maartje; Frøysaker, Tine & Caruso, Francesco (2019). Designing paint mock-ups for a study of novel surface cleaning techniques for Munch’s unvarnished Aula paintings. In Berg, Klaas jan van den; Bonaduce, Ilaria; Burnstock, Aviva; Ormsby, Bronwyn; Scharff, Mikkel; Carlyle, Leslie; Heydenreich, Gunnar & Keune, Katrien (Ed.), Conservation of Modern Oil Paintings. Springer Nature. ISSN 9783030192532. doi: 10.1007/978-3-030-19254-9_41. Full text in Research Archive
• Caruso, Francesco; Mantellato, Sara; Streeton, Noëlle Lynn Wenger & Frøysaker, Tine (2019). Unveiling Harriet Backer: ICP-OES study for the characterisation of the colour tubes from her original paint box. Heritage Science. 7(1), p. 1–23. doi: 10.1186/s40494-018-0244-8. Full text in Research Archive Show summary

  Micro-samples from 57 original paint tubes used between 1904 and 1909 by the Norwegian painter, Harriet Backer were studied with inductively coupled plasma–optical emission spectroscopy (ICP–OES). This accurate elemental characterisation of Backer’s original materials aims to fill several gaps in conservation science, painting conservation, and art technology. Firstly, it provides a novel and validated analytical method that can be applied to other painting materials. Secondly, ICP–OES offers scientific information about different oil colours from the late 19th to the early 20th century by Dr. Schoenfeld & Co., Düsseldorf, currently known as Lukas–Nerchau, whose archives were depleted during the Second World War. This work also lends new insights into the paintings of a renowned female Norwegian artist, whose painting materials have been little studied to date. ICP–OES results, coupled with a comprehensive, illustrated catalogue of paint tubes, will be instrumental for ongoing scientific investigations of this painter’s body of work.

• Grøntoft, Terje; Stoveland, Lena Porsmo & Frøysaker, Tine (2019). Predicting Future Condition and Conservation Costs from Modelling Improvements to the Indoor Environment: The Monumental Munch-Paintings in the University of Oslo’s Aula Assembly Hall. Journal of Conservation and Museum Studies. ISSN 2049-4572. 17(5), p. 1–15. doi: 10.5334/jcms.185. Full text in Research Archive Show summary

  The aim of this work was to assess how improvements to the indoor environment could affect the future condition, frequency and costs of major conservation-cleaning campaigns on the monumental paintings (1909–1916) by Edvard Munch, centrally located in the Aula assembly hall of the University of Oslo. A lower soiling rate is expected to reduce the need for frequent and major cleaning campaigns. Estimations were performed using the freely available NILU-EnvCul web-model. The conservation of these large, mostly unvarnished, oil paintings is challenging, and it is important to understand the potential benefits of preventive conservation measures. The results from the model suggested benefits from preventive conservation in protecting the paintings, and as a cost-efficient strategy to reduce the soiling and cleaning frequency. The model results indicated that an improvement in the indoor air quality in the Aula, of 50–80% as compared to the 1916–2009 average, would increase the time until the next similar major conservation cleaning campaign from approximately 45 years to between about 85 and 165 years. This should give a 45–70% reduction in the respective conservation costs. This saving was probably initiated by improvements in the recent past, before the last Aula campaign in 2009–11.

• Stoveland, Lena Porsmo; Stols-Witlox, Maartje; Ormsby, Bronwyn; Caruso, Francesco & Frøysaker, Tine (2019). Edvard Munch’s monumental Aula paintings: a review of soiling and surface cleaning issues and the search for new solutions. In Clarricoates, Rhiannon; Dowding, Helen & Wright, Adèle (Ed.), Interactions of Water with Paintings. Archetype Publications Ltd.. ISSN 9781909492691. p. 85–99. Full text in Research Archive
• Stoveland, Lena Porsmo; Caruso, Francesco & Frøysaker, Tine (2018). Irma Salo Jægers Komposisjon Oktober 64. Meddelelser om konservering. ISSN 0106-469X. p. 27–42. Full text in Research Archive
• Liu, Mirjam; Mengshoel, Gerd Karen & Frøysaker, Tine (2016). The Surface of The Sun: Materials and Techniques in Edvard Munch's Central Aula Painting. In Wallert, Arie Prof. Dr. (Eds.), Painting Techniques - History, Materials and Studio Practice. Rijksmuseum. ISSN 9789491714955. p. 264–271. Full text in Research Archive
• Frøysaker, Tine (2016). Munch's ambivalence to Alma Mater - making, changes and challenges. Zeitschrift für Kunsttechnologie und Konservierung (ZKK). ISSN 0931-7198. p. 338–350. Full text in Research Archive
• Ormsby, Bronwyn; Frøysaker, Tine & Topalova-Casadiego, Biljana (2015). Munch150: reflections and challenges. In Frøysaker, Tine; Streeton, Noëlle Lynn Wenger; Kutzke, Hartmut; Hanssen-Bauer, Francoise & Topalova-Casadiego, Biljana (Ed.), Public Paintings by Edvard Munch and His Contemporaries: Change and Conservation Challenges. Archetype Publications Ltd.. ISSN 9781909492387. p. 351–361. Full text in Research Archive
• Frøysaker, Tine (2015). Unintended contamination? A selection of Munch's paintings with non-original zinc white. In Frøysaker, Tine; Streeton, Noëlle Lynn Wenger; Kutzke, Hartmut; Hanssen-Bauer, Francoise & Topalova-Casadiego, Biljana (Ed.), Public Paintings by Edvard Munch and His Contemporaries: Change and Conservation Challenges. Archetype Publications Ltd.. ISSN 9781909492387. p. 132–140. Full text in Research Archive
• Frøysaker, Tine; Miliani, Costanza; Grøntoft, Terje & Kleiva, Ingjerd (2015). Monitoring of surface blackening and zinc reaction products on prepared samples located adjacent to Munch's The Source in the Aula at the University of Oslo. In Frøysaker, Tine; Streeton, Noëlle Lynn Wenger; Kutzke, Hartmut; Hanssen-Bauer, Francoise & Topalova-Casadiego, Biljana (Ed.), Public Paintings by Edvard Munch and His Contemporaries: Change and Conservation Challenges. Archetype Publications Ltd.. ISSN 9781909492387. p. 126–131. Full text in Research Archive
• Frøysaker, Tine; Liu, Mirjam & Miliani, Costanza (2013). Extended Abstract - Noninvasive Assessments of Cleaning Tests on an Unvarnished Oil Painting on Canvas by Edvard Munch. Smithsonian Contribution to Museum Conservation. ISSN 1949-2359. p. 119-123–119-123. Full text in Research Archive
• Mengshoel, Karen; Liu, Mirjam & Frøysaker, Tine (2012). Shocking a mock-up: Recreating the damages and historical treatmens found in Edvard Munch's monumental Aula paintings to test materials and procedure for marouflaging a marouflage. In Wrapson, Lucy; Rose, Jenny; Miller, Rose & Bucklow, Spike (Ed.), In Artists' Footsteps. The Reconstruction of Pigments and Paintings. Archetype Publications Ltd.. ISSN 9781904982852. p. 129–140. Full text in Research Archive
• Mengshoel, Karen; Liu, Mirjam; Kempton, Hanne Moltubakk & Frøysaker, Tine (2012). Moving monumental Munch: From listed building to temporary studio - and back again. In Bronken, Ida Antonia Tank; Braovac, Susan; Olstad, Tone Marie & Ørnhøi, Anne Apalnes (Ed.), Moving Collections. Processes and Consequences. Archetype Publications Ltd.. ISSN 9781904982845. p. 65–72. Full text in Research Archive
• Frøysaker, Tine (2011). Bevaring av Edvard Munchs aulamalerier før og nå. In Berman, Patricia G. & Anker, Peder (Ed.), Edvard Munchs aulamalerier. Fra kontroversielt prosjekt til nasjonalskatt. Messel Forlag. ISSN 9788276311167. Full text in Research Archive
• Frøysaker, Tine; Miliani, Costanza & Liu, Mirjam (2011). Non-Invasive Evaluation of Cleaning Tests Performed on "Chemistry" (1909-1916). A Large Unvarnished Oil Painting on Canvas by Edvard Munch. Restauro. Forum für Restauratoren, Konservatoren und Denkmalpfleger. ISSN 0933-4017. p. 53–63. Full text in Research Archive
• Frøysaker, Tine; Liu, Mirjam & Ford, Thierry-Olivier (2011). Backing Munch - past and recent attachment of Edvard Munch's monumental Aula paintings to rigid supports. Zeitschrift für Kunsttechnologie und Konservierung (ZKK). ISSN 0931-7198. p. 252–272. Full text in Research Archive
• Frøysaker, Tine & Liu, Mirjam (2009). Four (of eleven) unvarnished oil paintings on canvas by Edvard Munch in the Aula of Oslo University. Preliminary notes on their materials, techniques and original appearances. Restauro. Forum für Restauratoren, Konservatoren und Denkmalpfleger. ISSN 0933-4017. p. 44–62. Full text in Research Archive
• Frøysaker, Tine (2008). Bevaring av Edvard Munchs aula-malerier før og nå. Kunst og Kultur. ISSN 0023-5415. 91(1), p. 2–17. Full text in Research Archive
• Frøysaker, Tine (2007). The paintings of Edvard Munch in the Assembly Hall of Oslo University. Their treatment history and the Aula-project. Restauro. Forum für Restauratoren, Konservatoren und Denkmalpfleger. ISSN 0933-4017. p. 246–257. Full text in Research Archive
• Frøysaker, Tine (2006). The 17th Century Silesian Artist Gottfried Hendtzschel and his Church Paintings in Norway. In Harasimowicz, Jan; Oszczanowski, Piotr & Wislocki, Marcin (Ed.), Po obu stronach Baltyku. Wzajemne relacje miedzy Skandynawia a Europa Srodkowa [On the Opposite Sides of the Baltic Sea. Relations between Scandinavian and Central European Countries]. Wydawnictwo VIA NOVA. ISSN 9788360544051. p. 177–184. Full text in Research Archive
• Kollandsrud, Kaja; Frøysaker, Tine & Nadolny, Jilleen Schneider (2006). Publications of Unn Plahter. In Nadolny, Jilleen Schneider; Kollandsrud, Kaja; Sauerberg, Marie Louise & Frøysaker, Tine (Ed.), Medieval Painting in Northern Europe: Techniques, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter. Archetype Publications Ltd.. ISSN 9781904982210. p. xvii–xx. Full text in Research Archive
• Frøysaker, Tine & Kollandsrud, Kaja (2006). The Calvary Group in Urnes Stave Church, Norway: A Technological Examination. In Nadolny, Jilleen Schneider; Kollandsrud, Kaja; Sauerberg, Marie Louise & Frøysaker, Tine (Ed.), Medieval Painting in Northern Europe: Techniques, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter. Archetype Publications Ltd.. ISSN 9781904982210. p. 43–58. Full text in Research Archive
• Frøysaker, Tine (2006). The removal of a previous wax-resin treatment and the re-consolidation of the polychrome wooden Calvary group, c. 1150, in Urnes stave church. B P J M Aktuell. ISSN 0943-5638. p. 7–16. Full text in Research Archive
• Frøysaker, Tine (2005). Maleriene i Vats kirke. In Østrem, Nils Olav (Eds.), Vats kyrkje 150 år. Vats sokneråd. ISSN 9788230303849. p. 25–32. Full text in Research Archive

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• Streeton, Noëlle Lynn Wenger; Frøysaker, Tine & Bjerregaard, Peter (2025). Sacred Medieval Objects and Their Afterlives in Scandinavia. De Gruyter Brill. ISBN 9789004707573. 570 p. Full text in Research Archive Show summary

  Interconnected investigations between conservators, historians, heritage scientists and museum professionals centre on objects that were essential to medieval Christianity in Scandinavia (c. 1100‒1530). Through new and diverse physical data from polychrome sculptures, shrines, winged altarpieces and painted banners, the authors probe a range of issues and problems, from original devotional functions and changing appearances, to the impacts of changing liturgies, locations and priorities. This book highlights the diversity of theoretical and practical approaches to sacred medieval religious objects, and brings together new findings related to the transformations of these objects since the Reformations.

• Sauge, Birgitte; Ford, Thierry; Frøysaker, Tine & Berg, Klaas jan van den (2024). Bridging the gap: synergies between art history and conservation. Archetype Publications Ltd.. ISBN 9781916642041. 280 p. Full text in Research Archive
• Frøysaker, Tine; Streeton, Noëlle Lynn Wenger; Kutzke, Hartmut; Hanssen-Bauer, Francoise & Topalova-Casadiego, Biljana (2015). Public Paintings by Edvard Munch and His Contemporaries: Change and Conservation Challenges. Archetype Publications Ltd.. ISBN 9781909492387. 377 p. Full text in Research Archive
• Nadolny, Jilleen Schneider; Kollandsrud, Kaja; Sauerberg, Marie Louise & Frøysaker, Tine (2006). Medieval Painting in Northern Europe: Techniques, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter. Archetype Publications Ltd.. ISBN 9781904982210. 286 p. Full text in Research Archive

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• Romani, Martina; Ortega, Mercedes; Caruso, Francesco; Laserna, Olivia Gómez; Zarandona, Iratxe & Cutajar, Jan Dariusz [Show all 9 contributors for this article] (2024). Developing environmentally sustainable solutions for cleaning Edvard Munch’s monumental Aula paintings: a materials science-driven multi-analytical methodology. Full text in Research Archive
• Laserna, Olivia Gómez; Zarandona, Iratxe; Romani, Martina; Caruso, Francesco; Nualart-Torroja, Anna & Martí, Africa Pitarch [Show all 10 contributors for this article] (2024). Nanocellulose aerogels and hydrogels as new generation materials for the green transition in painting conservation. Full text in Research Archive
• Zarandona, Iratxe; Laserna, Olivia Gómez; Romani, Martina; Cutajar, Jan Dariusz; Frøysaker, Tine & Lizundia, Erlantz [Show all 7 contributors for this article] (2024). Cellulose nanofiber-based hydrogels as a sustainable alternative for soiling removal on canvas paintings. Full text in Research Archive
• Cutajar, Jan Dariusz; Steindal, Calin Constantin; Joseph, Edith; Caruso, Francesco; Hardeberg, Jon Yngve & Frøysaker, Tine (2023). Spectral- and image-based documentation metrics for the evaluation of conservation cleaning treatments. Archiving Conference. ISSN 2161-8798. Full text in Research Archive
• Stoveland, Lena Porsmo; Ørnhøi, Anne Apalnes; Mengshoel, Gerd Karen; Steindal, Calin Constantin & Frøysaker, Tine (2023). Different contexts, common challenges: Conservation of a distemper wall painting (1690) by Henning S. Munch in Vågå Church, Norway. Full text in Research Archive
• Garrappa, Silvia; Frøysaker, Tine; Streeton, Noëlle Lynn Wenger; Hradil, David; Platania, Elena & Beltinger, Karoline [Show all 7 contributors for this article] (2023). Corrigendum to “Micro-spectroscopic study of late 19th-early 20th century tube paints” [Spectrochim. Acta Part A: Mol. Biomol. Spectrosc. 279 (2022) 121414] (Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy (2022) 279, (S1386142522005637), (10.1016/j.saa.2022.121414)). Spectrochimica Acta Part A - Molecular and Biomolecular Spectroscopy. ISSN 1386-1425. 289. doi: 10.1016/j.saa.2022.122256. Full text in Research Archive
• Cutajar, Jan Dariusz; Babini, Agnese; Deborah, Hilda; Hardeberg, Jon Yngve; Joseph, Edith & Frøysaker, Tine (2022). Hyperspectral imaging analyses of cleaning tests on Edvard Munch’s monumental Aula paintings. Full text in Research Archive
• Stoveland, Lena Porsmo; Løvdal, Christine; Mengshoel, Gerd Karen & Frøysaker, Tine (2022). Re-visiting (the condition of) Munch’s monumental canvas paintings in the Aula of Oslo University. Full text in Research Archive
• Cutajar, Jan Dariusz; Hardeberg, Jon Yngve; Joseph, Edith & Frøysaker, Tine (2022). Hyperspectral-based documentation of cleaning tests on Munch’s monumental Aula paintings: PCA, NDI and NMF maps. Full text in Research Archive
• Cutajar, Jan Dariusz; Grillini, Federico; Babini, Agnese; Hardeberg, Jon Yngve & Frøysaker, Tine (2022). n situ hyperspectral imaging of monumental oil paintings: a practical approach for acquisitions on scaffolding and post-processing guidelines for conservators. Full text in Research Archive
• Cutajar, Jan Dariusz; joseph, edith; Hardeberg, Jon Yngve; Steindal, Calin Constantin & Frøysaker, Tine (2022). Cleaning unvarnished oil paint mock-ups. Spectral imaging maps for assessing soiling removal. Full text in Research Archive
• Cutajar, Jan Dariusz; Joseph, Edith; Hardeberg, Jon Yngve; Steindal, Calin Constantin & Frøysaker, Tine (2022). Spectral imaging for cleaning paintings. Mapping soiling removal by rigid agar gel spray from unvarnished oil paint mock-ups of Munch's monumental Aula paintings. Full text in Research Archive
• Frøysaker, Tine (2020). The Munch Aula Paintings project. Full text in Research Archive
• Cutajar, Jan Dariusz; Hardeberg, Jon Yngve; Joseph, Edith & Frøysaker, Tine (2020). MUNCH: Monitoring Munch’s monumental unvarnished oil paintings – exploring novel change documentation methods and cleaning techniques using hyperspectral imaging. Full text in Research Archive
• Caruso, Francesco; Mantellato, Sara; Streeton, Noëlle & Frøysaker, Tine (2019). Elements from the past: A conservation science project on Harriet Backer's paint tubes. IIC News in Conservation. ISSN 1995-2635. p. 16–20. Full text in Research Archive
• Caruso, Francesco; Mantellato, Sara; Streeton, Noëlle Lynn Wenger & Frøysaker, Tine (2019). Elements from the past: A conservation science project on Harriet Backer's oil paint tubes. IIC News in Conservation. ISSN 1995-2635. 74, p. 16–19. Full text in Research Archive
• Ford, Thierry; Rizzo, Adriana; Hendriks, Ella; Frøysaker, Tine & Caruso, Francesco (2018). Portable Diffuse Reflectance Infrared Fourier Transform Spectroscopy (DRIFTS) for Non-Invasive Screening and Identification of Varnishes in Painting Collections. A Pilot Study on Paintings by Edvard Munch. Full text in Research Archive
• Stoveland, Lena Porsmo; Ormsby, Bronwyn; Stols-Witlox, Maartje; Caruso, Francesco & Frøysaker, Tine (2018). Addressing issues related to the cleaning of water-sensitive oil paintings by Edvard Munch. Full text in Research Archive
• Kutzke, Hartmut & Frøysaker, Tine (2018). Harriet Backer: the artist's paint tubes in Uvdal stave church and her corresponding paintings, Expression and Sensibility. Art Technological Sources and the Rise of Modernism. Proceedings of the 7th symposium of the ICOM-CC working group on Art Technological Source Research. Archetype Publications Ltd.. ISSN 9781909492561. p. 141–142. Full text in Research Archive
• Kutzke, Hartmut & Frøysaker, Tine (2016). A rare collection of paint tubes in Uvdal stave church and three corresponding easel paintings by Harriet Backer. Full text in Research Archive
• Frøysaker, Tine (2016). Edvard Munchs Aulamalerier, Konserveringsstudiets Aulaprosjekt mm. Full text in Research Archive
• Frøysaker, Tine (2015). Foreword. In Frøysaker, Tine; Streeton, Noëlle Lynn Wenger; Kutzke, Hartmut; Hanssen-Bauer, Francoise & Topalova-Casadiego, Biljana (Ed.), Public Paintings by Edvard Munch and His Contemporaries: Change and Conservation Challenges. Archetype Publications Ltd.. ISSN 9781909492387. p. xv–xvii. Full text in Research Archive
• Frøysaker, Tine (2014). Interpreting the surface in light of re-painting, treatment and repair. Full text in Research Archive
• Streeton, Noëlle Lynn Wenger & Frøysaker, Tine (2014). Reading damage: conservators and the multi-disciplinary project 'After the Black Death: Painting and Polychrome Sculpture in Norway'. Full text in Research Archive
• Mirjam, Liu; Mengshoel, Gerd Karen & Frøysaker, Tine (2013). The Surface of The Sun: Materials and techniques in Edvard Munch's monumental Aula-painting. Full text in Research Archive
• Frøysaker, Tine; Costanza, Miliani; Grøntoft, Terje & Ingjerd, Kleiva (2013). Monitoring surface blackening and zinc reaction products near Munch's The Source in the Aula at the University of Oslo (2013-2021). Full text in Research Archive
• Frøysaker, Tine (2013). Unintended contamination? A selection of Munch's paintings with non-original zinc white. Full text in Research Archive
• Frøysaker, Tine; Mengshoel, Karen & Kempton, Hanne Moltubakk (2012). Edvard Munch's Aula frieze: Conservation and change in public attitudes. Full text in Research Archive
• Frøysaker, Tine; Liu, Mirjam & Miliani, Costanza (2010). Non-Invasive Assessments of Cleaning Tests on an Unvarnished Oil-Painting on Canvas by Edvard Munch. Full text in Research Archive
• Frøysaker, Tine; Liu, Mirjam & Ford, Thierry-Olivier (2010). Backing Munch - past, present and future attachments of Edvard Munch's large scale Aula paintings to rigid supports. Full text in Research Archive
• Frøysaker, Tine (2009). The paintings by Edgard Munch in Oslo University's Aula from 1909-1916. Approaches on cleaning in the Munch Aula Project (MAP) and MOLAB's findings. Full text in Research Archive
• Frøysaker, Tine (2008). The Conservation Studies (IAKH, UiO) and the Munch Aula project (MAP). Full text in Research Archive
• Frøysaker, Tine (2008). Konserveringsstudiets aulaprosjekt. Norske konserves : medlemsblad for NKF-N. ISSN 0804-3817. p. 7–9. Full text in Research Archive
• Frøysaker, Tine (2007). Bevaring av Aulamaleriene før og nå. Full text in Research Archive
• Frøysaker, Tine (2007). Edvard Munchs Aulamalerier for kommende generasjoner. Full text in Research Archive
• Frøysaker, Tine (2006). The conservation studies in Oslo and the Aula project. Full text in Research Archive
• Frøysaker, Tine (2006). The Paintings of Edvard Munch in Oslo University's Assembly Hall (1909-1916). Their Cleaning History and the Aula Project (2005-2008). Full text in Research Archive
• Frøysaker, Tine & Andreassen, Thorleif (2006). Tar hånd om mesterverk. [Journal]. Aftenposten. Full text in Research Archive
• Frøysaker, Tine & David-Andersen, Lisbeth (2006). Et delikat problem. [Radio]. NRK P2. Full text in Research Archive
• Frøysaker, Tine (2006). Redder Munchs Aula-bilder. Munch-malerienes livreddere. [Journal]. UNIFORUM. Full text in Research Archive
• Frøysaker, Tine (2005). The removal of a previous wax-resin treatment and the re-consolidation of the polychrome wooden Calvary group from 1150 in Urnes stave church (2001-2003). Full text in Research Archive
• Frøysaker, Tine (2005). Andre aktører i kirkerommet. Full text in Research Archive
• Frøysaker, Tine (2005). Gottfried Hendtzschels kirkemalerier, hva med dem? Full text in Research Archive
• Frøysaker, Tine (2005). Forandring og gjenbruk i norske kirker av polykrom treskulptur fra middelalderen og av tidlig etter-reformatorisk panelmaleri. Full text in Research Archive
• Stoveland, Lena Porsmo; Frøysaker, Tine; Ormsby, Bronwyn; Stols-Witlox, Maartje; Grøntoft, Terje & Caruso, Francesco (2021). Soiling removal from painted mock-ups: Evaluation of novel surface cleaning methods on oil paint and chalk-glue ground in the context of the unvarnished Aula paintings by Edvard Munch. Universitetet i Oslo. Full text in Research Archive
• Ford, Thierry-Olivier & Frøysaker, Tine (2007). Konservering av Peter Reimers' altermalerier i Valle kirke, Lindesnes kommune i Vest-Agder. Norsk institutt for kulturminneforskning. ISSN 9788281010420. Full text in Research Archive Show summary

  To panelmalerier med motivene Syndefallet og Korsfestelsen ble undersøkt, dokumentert og behandlet i perioden 2003-2005. Maleriene er sannsynligvis deler av altertavlen som Peter Reimers malte i 1608 og som ble solgt på auksjon på 1800-tallet. Siden begynnelsen av 1900-tallet har de to malerienes plass i kirken vært i forkant av alteret. Som et tidlig eksempel på kirkemaleri i perioden "Stavanger-renessansen" er bildene tillagt stor kulturminneverdi, i tillegg har de heller aldri blitt overmalt. De har tidligere blitt retusjert og fernissert ved to anledninger. Før denne siste behandlingen var maleriene i dårlig stand da mye maling hadde begynt å løsne fra underlaget. Parallelt med behandlingstiltakene ble Reimers' maleteknikk undersøkt. Som del av prosjektet ble det også utført en virtuell rekonstruksjon av hvordan altertavlen kan ha sett ut opprinnelig.

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