Tucked within Pomona College’s campus in Claremont, California, sits Frary Hall, the home of Mexican muralist Jose Clemente Orozco’s first work in the United States. The mural, titled Prometheus (1930), has been subjected to many instances of vandalism over the years. Thus, in 1980, a protective coating was applied. Today, the coating, a highly-reflective varnish, has been noted as a hindrance of the fresco’s original matte surface. Using case studies and art historical analysis, this thesis examines the importance of the mural within the history of Mexican muralism and the pros and cons of removing the protective coating. In addition, this research looks at the potential of art conservation as a means of reactivating the mural and promoting discussions across campus about the preservation of this cultural landmark. The thesis is culminated by a detailed proposal for the continued conservation of the mural, using Prometheus as a starting point for further discussions about aesthetics and ethics within the discourses of art history, art conservation and art restoration.

In the six months spent at the Musee d'art et d'histoire, Geneva, Switzerland, as a staff member in the dual role of paintings conservator and research conservator, there was achieved an excellent rapport with the staff of the Musee, a work record which was very successful, and research results which were received with enthusiasm, having broad implications for the Musee. Following the two months as a contract conservator in Vienna, research developments were applied in practice, under severe time constraints and the resulting treatment was successfully achieved with the wholehearted support and co-operation of staff and officials, resulting in offers of lectureships and lecture tours for the Academy of Fine Arts - Conservation School, Vienna in Austria and Germany. In evaluative terms, it is considered that the programme met the objectives very well, and in addition the results have potential for part of an ongoing programme of research into fire-damaged paintings and varnish removal, with solid lines of co-operation in the establishments in Europe.