Historical Painting Techniques, Materials, and Studio Practice

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10. Thompson, op. cit., 61. 11. Berger, E. 1975. Quellen und Technik der Fresco-, Oel-und Tempera-Malerei des Mittelalters . . . Walluf-Nendeln: Sandig Reprint, 195. 12. Borradaile, op. cit., 55-7. 13. Armenini, G. B. 1977. On the true precepts of the art of painting. Edited and translated by E. J. Olszewski. Burt Franklin, 194. 14. van de Graaf, op. cit., 174. Passage translated by the author. 15. van de Graaf, op. cit., 164. Passage translated by the author. 16. Brinkmann, P W F., et al. 1984. Het Lam Godsretabel van van Eyck . .. Bulletin de l'Institut Royal du Patrimoine Artistique (20):164. 17. Massing, A. and N. Christie. 1988. The Hunt in the Forest by Paolo Uccello. Bulletin of the Hamilton Kerr Institute (1):36. 18. Veliz, Z. 1986. Artists' Techniques in Colden Age of Spain. Cambridge: Cambridge University Press, 168-69. 19. Croeker, J. M. 1982. Der wohl anfuhrende Mahler. Rottenburg: Kremer-Reprint, 110. 20. Thompson, op. cit., 29-30. 21. Ludwig, op. cit., 244-7. Passage translated by the author. See also Chastel, A. n.d. Leonardo da Vinci. Samtliche Cemalde und die Schriften zur Malerei. [Darmstadt] : Wissenschaftliche Buchgesellschaft, 351-52. 22. van de Graaf, op. cit., 174. 23. Goetghebeur, N., and L. Kockaert. 1980. Le grand Calvaire d'Albert Bouts au M usee des Beaux-Arts de Bruxelles. Bulletin de l'Institut Royal du Patrimoine Artistique (18):5-20. Woudhuysen-Keller 69
Abstract The discovery of three "new" pigments is described. Their history is traced through the literature of pigments, ceramics, and glass. Tin white, previously undiscovered, is followed from Iraqi ceramics to its occurrence as a pigment on Jain miniatures in India. Burnt green earth, mentioned by early Italian and nineteenth-century English writers, is identified on nineteenth-century oil paintings. Cobalt oxide colorant is followed from Persia to Europe and China and finally, in a new fo rm, to Venetian enamels and as smalt on Hindu miniatures. Connections and Coincidences: Three Pigments Josephine A. Darrah Science Group Conservation Department Victoria & Albert Museum London SW7 2RL United Kingdom Introduction There are certain advantages in being a generalist rather than a specialist. In this paper, the author hopes to show some of the connections and coincidences that occur when a wide range of materials and objects are analyzed in the same laboratory. Tin white The pigment known as tin white is elusive. It is mentioned occasionally in medieval and later European literature, but has never been identified on paintmgs. Tin oxide was used first as an opacifier in ceramic glazes to reproduce Chinese porcelains in ninth-century Iraq. From there it spread throughout the Near East (by the tenth century) and to Spain (by the thirteenth century) via North Africa (1). By the twelfth century it was being used to opacifY glass. It has been identified in twelfth-century Byzantine colored mosaic tesserae in Tchernigov, Ukraine (2). In 1612, in the first book devoted to glassmaking, Neri describes the preparation of enamel by adding calcined tin to calcined lead (3). The earliest dated European tin white glass is late fifteenth-century Venetian (4). White glass and enamel of the succeeding centuries is almost always opacified with tin (5). Writing in the late thirteenth century, Eraclius gives two very similar recipes for white glaze used for earthenware (6) . White glass was ground very finely, mixed with sulfur, painted onto the ceramic and fired. Tin is not mentioned but must have been the opacifier. The purpose of the sulfur is not known. It would not have survived the firing. The Paduan manuscript written in Venice in the seventeenth century (but copying sixteenth-century material), has another similar recipe, but here it is for a pigment: "Un bianco bellissmo-Si piglia cristallo di Venetia ..." [take some powdered Venice glass, add to it a third part of powdered sulfur] (7). The mixture was heated to red heat in a pipkin, cooled, and ground. Merrifield suggests that it was used for painting miniatures (8). Harley quotes an English source (ca. 1500): "For to make Ceruse. Take plates of tinne and beate them as thinne as thowe maist ..." (9). The tin was hung in a sealed barrel with vinegar for several weeks. The method is exactly the same as that used to produce lead or flake white. Indeed, the name ceruse was applied in England to both tin and lead white, and perhaps more correctly to a mixture of lead white and chalk. Harley says that documentary sources indicate that tin white was used in manuscripts. Her suggestion that it became obsolete because manuscript illumination declined cannot be substantiated, as the pigment has not been identified in any English or European miniatures. In the seventeenth century, Van Dyck tried it in oil and reported that it had insufficient body and was only useful for manuscript illumination (10). My tens fo und that it blackened in sunlight, spoiled white lead if the two were mixed, was useless in oil, and also in distemper if exposed to air (11). In the late eighteenth century, France Guyton de Morveau experimented with pigments and reported that tin white was unsuitable as it tended to yellow or blue (12). 70 Historical Painting Techniques, Materials, and Studio Practice
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Historical Painting Techniques, Mat
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Contents vii viii Foreword Preface
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Foreword One of the first events or
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The discussions in this volume pres
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Plate 2a, above right. Attributed t
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Plate 4a, above. Jacques Louis Da
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Plate 7a, above. Valerio Mariana da
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Plate 9. Marco Palmezzano, Mystic M
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Plate 13, right. Surya in his Chari
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Plate 16. The Fifth King of Shambha
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Plate 20. Cross section oj Sample 3
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Plate 26, top. Titian, Venus and Ad
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Plate 29. Cross sections of the St.
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Plate 33. Paul Delaroehe, The Execu
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Plate 35, right. Detail Jrom the lo
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Abstract This paper argues for an i
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we find a description of the affini
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2. A Practical Treatise on Painting
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knowledge and understanding of the
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Table 1. Scientific methods used Jo
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the painting together, share backgr
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y distance with "the aid of the air
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ected, shadows would appear matte a
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The differences in saturation, clea
Page 52 and 53: 19. White, R. Personal communicatio
Page 54 and 55: occupation agreable pour charmer l'
Page 56 and 57: DE PEJN'FURE PRATIQUE. Par demit::
Page 58 and 59: In spite of the laments of certain
Page 60 and 61: While cooking their eggs, two young
Page 62 and 63: some used for painting (i.e., amber
Page 64 and 65: ange of artists' materials, books o
Page 66 and 67: Figure 3. Personal account book, 18
Page 68 and 69: paper resulted in a volume of corre
Page 70 and 71: 4. HKI MS 865-1993, 497. The move i
Page 72 and 73: [1] How to make a gold ground. Take
Page 74 and 75: into a glass, and put in a bit of w
Page 76 and 77: [37] To make crude verzino for writ
Page 78 and 79: it on what you are working, with a
Page 80 and 81: 28. On these "clothlet colors," see
Page 82 and 83: it also includes instructions fo r
Page 84 and 85: Ricordi di belli colori Initially i
Page 86 and 87: Figure 4. Gherardo Cibo, "Fusaina [
Page 88 and 89: The treatise is typical for the lat
Page 90 and 91: Filza CXLIII, fols. 1122r, 1125v, 1
Page 92 and 93: that is, plaster of Paris, which ha
Page 94 and 95: 100 80 60 40 a 3500 30.00 2500 2000
Page 96 and 97: process described by Cennini for ge
Page 98 and 99: Abstract The frequent use of verdig
Page 100 and 101: strating that spreading this glaze
Page 104 and 105: Tingry, in 1830, gives a recipe for
Page 106 and 107: elonged to William Mallord Turner (
Page 108 and 109: 500 450 As Ph As 400 350 Fe Co 300
Page 110 and 111: 19. Merrifield, op. cit., 745-6. 20
Page 112 and 113: Table 1. Tibetan color names, trans
Page 114 and 115: J Figure 3. Three-dimensional spect
Page 116 and 117: Figure 5. Detail IR-reflectogram fr
Page 118 and 119: Abstract Icons preserved in the Nil
Page 120 and 121: I )--------------------------1 I i
Page 122 and 123: The understanding of an icon and it
Page 124 and 125: Abstract As part of a five-year sys
Page 126 and 127: later transferred to an artificial
Page 128 and 129: Winchester Cathedral Holy Sepulchre
Page 130 and 131: Gilding. Gold leaf was applied for
Page 132 and 133: Winchester Cathedral Holy Sepulchre
Page 134 and 135: scanning electron microscopy I ener
Page 136 and 137: Notes 1. Park, D. 1983. The wall pa
Page 138 and 139: Abstract It is rare for ancient ext
Page 140 and 141: Sa. Location : Salisbury west front
Page 142 and 143: sheltered eye on the southernmost c
Page 144 and 145: Abstract Extensive examination of A
Page 146 and 147: create surface gloss and could be v
Page 148 and 149: Figure 3. Andrea Mantegl1a, The Pre
Page 150 and 151: Abstract In September 1992 the J Pa
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arrow in Adonis's right hand ends a
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For the early works are executed wi
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J Figure 3. Fluorescence spectrul1'
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This property was deliberately used
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Abstract The St. Anne Altarpiece (N
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Figure 3. Infrared reJlectogram ass
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Figure 5. Irifrared niflectogram as
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followed by modeling layers and gla
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Abstract Based on extensive informa
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o . (Vv..-.< 1 2. underdrawing, and
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The key position of Lamentation in
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Figure 1. Workshop of Jan Bruegel,
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Figure 3. Camelis Vroom, Landscape
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Figure 5. Infrared photograph of Es
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at the beginning of the seventeenth
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artist like Vermeer had to use all
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Figure 1. Perspective drawing of Ve
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Hague, 1996). The author is also gr
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Abstract The paper presents some re
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Summary We can conclude after this
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the product, a salesman motivated b
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complaints, have been strictly adhe
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F(gure 8. Illfrared rriflectograph
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13. Hunt, W. H. 1905-1 906. Pre-Rap
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Figure 1. The Execution of Lady Jan
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Figure 3. The Execution of Lady Jan
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Figure 5. Detail of Lady Jal1e Grey
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Figure 6. Paul Delaroche, The Execu
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38. Merimee,J.-F.-L. 1830. De la pe
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F(gure 1. J. M. W. Turner, Goring M
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Figl/re 3. Detail if lower left, s/
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Figure 5. J. M. W. Tumer's The Dawn
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TabLe 1. Dates of manufa cture of i
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Kennedy of the Ulster Museum, Viola
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Figure 2. James Whistler, Nocturne
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5). There are many such examples of
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Abstract This paper discusses aspec
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1960s in North America. Requiring b
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2. Eder, ]. M. 1945. History of Pho
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Figure 1. Jan Baptiste Collaert, Co
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sudden increase in the dimensions o
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lacks. Passages painted with mixtur
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8. It is not clear when people firs
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Errata for Historical Painting Tech
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PAGE 159 Figure 2. Image source: Pe
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