Abstract
Restoration workshops often stay in the periphery of museum life standing in the background of headline exhibitions. At the same time, restoration is an essential part of cultural heritage conservation. In this report, we would like to review the matters of formation of an optimal luminous environment using the workshops of the Grabar Art Conservation Centre as an example. The nature of light in a workshop is of primary importance for high quality of restoration work. We consider this case important since the Grabar Art Conservation Centre cooperates with many regional museums of Russia, and its experience may be interesting for museum practitioners.
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