An analytical method suitable for the identification of organic materials consisting of groups of related components is chromatography. The method is used as an instrument for solving problems in art history, conservation, and restoration. The necessity of close cooperation between, e.g., conservator and investigator is emphasized. Examples of approaches are given for projects involving varnishes, binding media, and organic dyestuffs. An investigation into the varnishes on ancient violins resulted in a systematic examination of the detectability of different resins, propolis, and dyestuffs in mixtures. Examination of binding media involves chromatography, Fourier transform infrared (FTIR) spectroscopy, and histochemical staining. By using a deliberate combination of these techniques, better results have been obtained. The specific identification of a proteinaceous medium (e.g., glue) in an illuminated manuscript on parchment is hardly possible due to the risk of the interference of amino acids from the parchment with those in the paint layer. The same applies to the analysis of glue as a medium in paint on glue-sized paper. Organic dyestuffs occur on textiles and in paints. Generally, the organic molecule has to be fixed to a metal as a mordant. Analysis requires this complex to be destroyed by hydrolysis before the chromatographic separation and identification can be accomplished. As an example, the systematic study of the use of red dyestuffs, 1450-1600, is given. The aim was to establish the date by which the European kermes had been replaced completely by the Mexican cochineal. The date was found to be 1550. A pilot study of 25 out of 350 19th-century Asian carpets, originating from different tribes, showed that they contained the same group of dyestuffs.