Short training courses
A training offer designed for professionals
ATP-Formation offers short courses, from 1 to 4 days, tailored to the needs of heritage restoration professionals.
Deepening one’s skills…
These training programs are designed to provide professionals with advanced knowledge in conservation–restoration, as well as to introduce them to fields or skills related to the profession of conservator–restorer of paintings.
…under the guidance of experts
In the form of masterclasses, mini-workshops, theoretical courses, practical sessions, or guided visits, these short courses are led by experienced professionals who are experts in their field.
All registrations must now be completed online.
Using the links provided in the program below. For any additional information, please send an email to formation.atp@gmail.com.
A personalized quotation and program can be provided upon request as part of an external funding application. Participants are responsible for their travel, accommodation, and any other expenses related to their participation in the workshop. No partial refund can be issued once the training has begun.
You may be able to fund your training in several ways depending on your situation:
Training eligible for the CPF (Personal Training Account) → please contact us directly
If you are an employer: through your OPCO
If you are self-employed: through FIF/PL → www.fifpl.fr
If you are an artisan: through FAFCEA → www.fafcea.com
Our short course offering 2025–2026
Restoration projects
Friday, January 23, 2026 (10 a.m.–1 p.m. / 2 p.m.–6 p.m.)
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Sabine De FREITAS
Trained at the École du Louvre and at the Instituto Mexicano de Curaduría y Restauración, Sabine de Freitas has been a restorer of mural paintings and polychrome wood artworks for nearly 30 years. She specializes in researching natural and innovative materials and techniques for consolidating lime plasters and paint layers.
She is the co-manager of the Muro dell’Arte conservation studio, where she oversees conservation and restoration projects for monumental mural paintings.
Sabine has received numerous awards, including the Léonard Prize at the Salon des Métiers d’Art in Tours (2012), the Geste d’Or Trophy for Crafts (2014), the Touraine Prize – Métiers d’Art – Conservation-Restoration (2015), and the Special Jury Prize at the Regional Crafts Competition – Conservation-Restoration (2016, Centre–Val de Loire region). She was also awarded the VMF Belle Main Prize in 2015 for the restoration of a 17th-century polychrome fireplace at the Château de la Grande Jaille (listed as a Historic Monument), and again in 2019 for the restoration of the music room at the Château d’Idogne (listed as a Historic Monument).
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> Acquire the essential knowledge needed to carry out restoration projects: specific features, types of projects, stakeholders, preliminary studies, logistical considerations… supported by practical case studies.
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1. The restoration site: when the workshop moves
a. Why restore in situ: due to the nature of the object
artworks inherently tied to architecture: mural paintings, marouflaged paintings
artworks that cannot be moved: large-format paintings, monumental polychrome furniture
mediation purposes: open-site restoration projects or on-site public lectures
(Emphasis here on monumental painting)
b. The various types of work sites
places of worship
castles and historic residences
museums
unusual or unconventional locations
c. The specificities of a restoration site
the location: adapting to the environment (climate, height, lighting…), its functioning, and its schedule
travel considerations (logistics, transportation, accommodation, team cohabitation)
adapting one’s practice: different from easel painting; understanding monumentality (scaffolding, supports, techniques)
Specialized training is required for scaffolding assembly and working at heights.
2. The different stakeholders involved in a restoration site
the project owner
the project manager (architect, Heritage Architect, Chief Architect of Historic Monuments)
scientific and technical oversight (Historic Monuments Services: STAP and DRAC)
the curator (departmental, site or museum curator)
other trades and “participants”: parishes; associations (local preservation associations, Fondation du Patrimoine, VMF…); on-site personnel (guards, supervisors, guides…); visitors
3. The preliminary study
Understanding the artwork: its environment, support, and technique
Health diagnosis: structural pathologies, artwork pathologies, climate study, analyses
The treatment protocol: adapted to the support, the pictorial technique, and the conservation conditions
Case studies with on-site mural painting samples and examples shown in a slideshow.
4. Setting up a restoration site
Legal framework for the project: public tenders, restricted consultations, direct commissioning
Building a team: who is the main contractor, team status, remuneration for each member
Preparing site logistics: equipment and materials, transport and installation, cleaning and organization, working alongside other trades (scheduling, shared equipment, maintaining good cooperation)
Health and safety on site: including lead-contaminated worksites, presence of microorganisms
5. Approaching an artwork on site
Understanding the history of the site and the artwork
Adapting the condition report and protocol: preliminary tests
Site meetings
Preventive conservation
6. Practical cases and feedback from experience
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7 hours
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ATP-Formation, 3 avenue Daumesnil, 75012 Paris
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€246 (all materials and administrative fees included)
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Conservator–restorer of cultural heritage, specializing in easel paintings
Certificate or diploma in cultural heritage conservation–restoration, specializing in painting
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In-person training
Mandatory attendance sheets
Issuance of a professional training certificate upon completion of the course
Artificial intelligence in the service of artistic heritage restoration
Saturday, January 24, 2026 (2 p.m.–5 p.m.)
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Joëlle EKOULE TEMATIO
Joëlle Ekoulé Tematio is a strategy consultant and the founder of IMORAN, a firm specializing in artificial intelligence, strategy, and transformation. With more than twenty years of experience in managing strategic projects, Joëlle is an accomplished professional who has honed her expertise in the banking and financial sector. She has extensive experience in leading strategic initiatives, analyzing business processes, and managing operational efficiency projects, both in France and abroad. Today, she supports organizations in achieving sustainable growth and long-term success through the integration of AI, process optimization, and strategic planning.
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This 3-hour training session is intended for conservation–restoration professionals who wish to understand and experiment with the uses of artificial intelligence within a concrete and ethical framework. Through a combination of demonstrations, practical exercises, and group discussions, participants will explore how to integrate AI into their professional practice without losing the rigor or sensitivity inherent to their craft.
familiarize participants with the uses of artificial intelligence (AI) in the highly specific context of painting and polychrome artwork restoration
discover the basic principles of AI and its potential
test practical tools and create a personalized AI assistant to support their professional practice
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The training alternates conceptual input, demonstrations and real-life examples, guided hands-on practice, and collaborative workshops to encourage participant engagement and support the concrete integration of artificial intelligence into their professional environment.
1. Introduction and familiarization
Introduction to artificial intelligence
Ethical, economic, and societal issues
2. Overview of professional applications
Concrete examples tailored to the context of conservation–restoration
3. Guided hands-on practice
Getting started with ChatGPT (or an equivalent tool)
Creating a personalized AI assistant
4. Collective reflection
Discussion of insights, questions, and concerns
Discussion on ethical issues and limitations (plagiarism, development of critical thinking, etc.)
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3 heures
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ATP-Formation, 3 avenue Daumesnil, 75012 Paris
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€180 (all materials and administrative fees included)
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Open to all audiences
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In-person training
Mandatory attendance sheets
Issuance of a professional training certificate upon completion of the course
Traditional lining techniques and the innovation of mixed lining or ‘relining’.
From Monday, February 23 to Thursday, February 26, 2026 (10 a.m.–1 p.m. / 2 p.m.–6 p.m.)
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Marine BEYLOT
An independent restorer and a graduate of the École de Condé, Marine Beylot has been providing her expertise and skills to private clients and professionals for many years. With extensive and varied professional experience, and full mastery of conservation–restoration techniques for paintings and polychrome artworks, she has been working with ATP-Formation for nearly 20 years and currently guides first-year students in their practical training.
Angélique DEMEERSSEMAN
An independent restorer with extensive experience, Angélique Demeersseman carries out restoration work on paintings, mural paintings, and polychrome artworks, applying all her expertise to enhance the readability of the piece while strictly respecting its physical integrity. She assists first-year students in discovering the constituent materials of painted artworks.
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Understand the different lining and relining techniques using water-based adhesives
Gain familiarity with the materials used in facing and the fluids used for consolidation and impregnation
Prepare various adhesives based on international formulations
Implement different intervention protocols for paste lining and mixed lining techniques
Compare the results of the different techniques
Acquire new skills in the preventive and structural restoration of canvas supports
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Monday – Lining (1/2)
Welcome, group formation, equipment presentation
Removing canvases/stretchers, flattening edges, facing on tensioning boardsTensioning new canvases on 4 stretchers, heating adhesives and applying falégname glue
Daily debriefTuesday – Lining (2/2)
Flipping old canvases, placing under tension, sanding new canvases, micro-vacuuming, preparing tarlatan, preparing newspapersPreparing paste adhesive, adhesive application, laying tarlatan, adjustments, ironing, removing from stretchers and reattaching to stretcher frames
Daily debrief
Wednesday – Mixed lining / “Rendoublage” (1/2)
Removing canvases/stretchers, flattening edges, facing on tensioning boards, drying, flipping, impregnation with Plexisol or Paraloid outdoors, dryingTensioning new canvases on 4 stretchers, preparing mixed/relining adhesive, cutting polyester nonwoven
Applying polyester interlayer adhesive, applying mixed adhesive, canvas alignment, securing with gummed kraft paper and first ironing (reverse)
Daily debrief
Thursday – Mixed lining / “Rendoublage” (2/2)
Second ironing for mixed lining (front)
Removing from stretcher and reattaching to frame, comparative tests
General cleanupDaily debrief
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4-day workshop
Monday 23, Tuesday 24, Wednesday 25, and Thursday 26 February 2026 (10 a.m.–1 p.m. / 2 p.m.–6 p.m.)
28 hours over 4 days -
ATP-Formation, 3 avenue Daumesnil, 75012 Paris
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€986 (all materials and administrative fees included)
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Conservator–restorer of cultural heritage, specializing in easel paintings
Certificate or diploma in cultural heritage conservation–restoration, specializing in painting
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In-person training
Mandatory attendance sheets
Issuance of a professional training certificate upon completion of the course
Wednesday, March 18, 2026 (10 a.m.–12:30 p.m. / 2 p.m.–5:30 p.m.)
Expertise and authentication research
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Thierry MOUTARD-MARTIN
A painter, color grinder, and historian of pictorial techniques, Thierry Moutard-Martin comes from a family of artists and completed his training in the studio of Mark Lago Rivera. He shares his expertise with a wide range of audiences (French Ministry of Education, conferences, museums, École de Condé, etc.). Since the early 2000s, he has been reconstructing ancient painting techniques through a combination of approaches: historical sources, laboratory analysis results, and experimental reconstructions involving manual color grinding, copying, and reverse engineering. Thierry Moutard-Martin’s extensive reference library is a valuable tool for authenticating paintings and contributing significantly to expertise processes. He has specifically studied the pictorial techniques of art forgers in order to identify their productions scientifically.
Annette DOUAY
Trained at the prestigious Istituto per l’Arte e il Restauro in Florence in the early 1980s, Annette Douay has continually worked to evolve traditional restoration toward a more technical and scientific practice. Mastering all techniques of conservation–restoration for paintings and polychrome artworks, and continuously enhancing her expertise through national and international institutions, she also holds a diploma as “Expert: Art Law and Authenticity” from the University of Paris II Assas–Panthéon. She places her extensive experience at the service of private clients (collectors and art lovers) as well as institutions (museums, historic monuments, ministries, foundations, etc.).
Her vocation, which became her profession, also led her to teach her craft with ever-renewed precision and curiosity at the École de Condé, IESA, and Paris 8. She is now the Academic Director of ATP-Formation, a 3-year certified training center dedicated to the restoration of paintings and polychrome artworks, supported by the restoration workshop she founded (Atelier du Temps Passé).
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gain an introduction to art expertise law, in a context where artistic counterfeits and disputes over artwork authenticity are increasingly common
become familiar with scientific techniques used in artwork authentication, which are expected to play an increasingly significant role
discover the pictorial techniques of several well-known forgers and learn the first simple examinations that help identify fake paintings
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Morning
General presentation – The foundations of authenticity assessment:
the eye of the art historian
the artwork’s pedigree and provenance over time
materiality established by the conservator–restorer and scientific collaboration
The Marcus Decree: a fundamental text in the art market
Certificates of authenticityCase studies
Afternoon
1. Fake paintings: the phenomenon and its causes
Introduction
What is a fake?
Fake / Copy
Old forgeries
The problem of early over-restoration
Self-forgers
Motivations
Authenticity guarantees to prevent forgeries2. The making of forgeries
Support
Paint layer: craquelure
Solubility issues in recent paint layers
Paint layer: execution
Patina
Varnish3. Detecting forgeries
Old Masters
Selected analytical techniques
The issue of Minor Masters
Recent artistsDiscussion
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6 hours
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ATP-Formation, 3 avenue Daumesnil, 75012 Paris
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€210 (all materials and administrative fees included)
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Open to all audiences
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In-person training
Mandatory attendance sheets
Issuance of a professional training certificate upon completion of the course
Issues and techniques in the conservation–restoration of contemporary artworks
Friday, March 27, 2026 (10 a.m.–6 p.m.)
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Andreea NERGHES
Coming from a family of fresco painters and mural painting restorers, Andreea Nerghes holds a Bachelor’s degree and a Master’s degree in Conservation and Restoration of Cultural Heritage from the Fine Arts Universities of Timișoara and Cluj-Napoca (Romania). In 2015, she joined ATP-Formation and obtained the Conservator–Restorer certification for paintings and polychrome artworks in 2018.
Since then, she has continued to train in the latest technologies in cultural heritage conservation–restoration, regularly attending advanced courses on various specialized topics in France and abroad. She is now in charge of restoration work at the Atelier du Temps Passé and works daily on artworks ranging from the 15th century to the contemporary period, for both public and private clients.
She is also an instructor at ATP-Formation, specializing in new methods for cleaning painted surfaces, and is responsible for supervising the final projects of third-year students.
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acquire basic knowledge in the restoration of contemporary art: support treatments, cleaning, and retouching; questioning the necessity of intervention; alternatives to classical techniques.
understand that the reactivity and specificity of these materials can create complex challenges when restoring damaged or aging artworks.
develop an understanding of the chemical composition of each material and anticipate their reactions to different environments and treatments.
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In the world of contemporary art, artists often explore new materials and techniques, creating unique challenges for restoration. It is essential to understand that contemporary artworks, with their wide range of materials and methods, require in-depth conservation and restoration expertise to preserve their integrity over the long term. Every treatment decision must be carefully considered to maintain the artwork’s integrity while ensuring its long-term stability.
10 a.m.–1 p.m. / 2 p.m.–3:30 p.m.
Theoretical and practical course1. Specificity and reactivity of materials in contemporary art
2. Technical challenges, limitations, and ethical considerations
3. Treatments on the support, cleaning, and retouching
4. Presentation of a restoration project carried out within the YOCOCCU – Timișoara (2023) framework
Polysaccharides in the conservation–restoration of artworks.
Intervention methodology using algae-derived materials on two contemporary works:
Application of agar-agar and funori in cleaning and consolidation treatments on two matte paintings.5. Practical cases and experience sharing
4 p.m.–6 p.m.
Visit to the collections of the Musée d’Art Moderne de la Ville de Paris
As a complement to Andreea Nerghes’s session, we offer a “Crossed Perspectives” tour of the modern and contemporary collections of the Musée d’Art Moderne de la Ville de Paris: a guided visit through the dual lens of an art historian and a conservator–restorer. Selected works will be presented with historical and aesthetic context, practical conservation–restoration cases, and opportunities for discussion.
Instructors: Annette DOUAY, conservator–restorer of cultural heritage, and Eric PARMENTIER, art historian
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7 hours
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ATP-Formation, 3 avenue Daumesnil, 75012 Paris
Musée d’Art Moderne de Paris
11 Av. du Président Wilson, 75116 Paris -
€246 (all materials and administrative fees included)
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Conservator–restorer of cultural heritage, specializing in easel paintings
Certificate or diploma in cultural heritage conservation–restoration, specializing in painting
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In-person training
Mandatory attendance sheets
Issuance of a professional training certificate upon completion of the course
Introduction to the conservation–restoration of graphic artworks
Friday, May 29, 2026 (10 a.m.–1 p.m. / 2 p.m.–6 p.m.)
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Andreea NERGHES
Coming from a family of fresco painters and mural painting restorers, Andreea Nerghes holds a Bachelor’s degree and a Master’s degree in Conservation and Restoration of Cultural Heritage from the Fine Arts Universities of Timișoara and Cluj-Napoca (Romania). In 2015, she joined ATP-Formation and obtained the Conservator–Restorer certification for paintings and polychrome artworks in 2018.
Since then, she has continuously trained in the latest technologies in cultural heritage conservation–restoration, regularly attending advanced courses on various specialized topics in France and abroad. She is now responsible for restoration work at the Atelier du Temps Passé and works daily on artworks ranging from the 15th century to the contemporary period for both public and private clients.
She is also an instructor at ATP-Formation, specializing in new methods for cleaning painted surfaces, and supervises the final projects of third-year students.
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discover the history of paper
identify different types of paper and graphic techniques
observe and recognize types of paper degradation
learn aboutconservation–restoration techniques for graphic artworks
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1. The history of paper
Before paper
The beginnings of paper in Asia
European paper: ancient and modern2. Diagnosing the sheet to be restored
Identifying the graphic technique in order to assess its stability when immersed in water: drawings and printed works.
Analyzing the types of deterioration affecting the graphic medium and the paper.3. The different paper-cleaning techniques depending on the fragility of the graphic medium and the quality of the paper
dry cleaning
aqueous cleaning
chemical cleaning
4. Flattening, repairing, and toning
5. Ethics and the market for the restoration of graphic artworks
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7 hours
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ATP-Formation, 3 avenue Daumesnil, 75012 Paris
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€246 (all materials and administrative fees included)
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Conservator–restorer of cultural heritage, specializing in easel paintings
Certificate or diploma in cultural heritage conservation–restoration, specializing in painting
-
In-person training
Mandatory attendance sheets
Issuance of a professional training certificate upon completion of the course