Historical Painting Techniques, Materials, and Studio Practice

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Table 1. Tibetan color names, translations, and identified pigments. COLOR white blue Iliaht blue OOTA1lQII ENGUSH SPEWNG TIBETAN COLOR NAME ENGLISH TRANSLATION ka dkar 0 white Iha mthina azurite n oo Isnoo Inoht blue PIGMENTS IDENTIFIED kaolin 246 azurite (1 2 4,6\ azurite kaolin 2 3 4 6 Iliehter blue blue/Qreen blue/oreen 1 Iliaht blue/eraen t=. dark blue/ reen ellow ellow ellow " briaht red dark red ink ink oranae '" n kva snno skva IJinht blue + white loa IsoanoDO malachite azurite kaolin 2 3 4 6 malachite brochantite (2.4) '= \ 'ana sb ar ra nn "comnounded nreen" ornimentlreal ar indiao kaolin 1 2 3 4 6 to. , , 'ann sbvar Fana "comnnunded nreen" ornimentlreal ar indiQo kaolin (1 2 3 4 6) '2.. 'ana kva fana skva "comoounded reen" + white samole not taken '= \ IXQ") 'ana naa fann na "comnnunded teen" + black sam Ie not taken ;:, .:) , '" fAA. "- 0( "
Figure 2. Detail IR-refiectogram from The Twenty-ninth King of Shambhala, showing the color code ngo kya on the leg of a goat. Denman Waldo Ross Collection, Museum if Fine Arts, Boston (06. 335). The notation ngo (sngo), found on twenty-two Shambhala paintings, means light blue or sky blue (9). Ngo was used for sashes, linings of garments, jewels, nimbuses, rock crags, and lotus petals. Samples of this color taken from four paintings were identified as a mixture of azurite and kaolin. Further whitening of this pigment is indicated by the notation ngo kya (sngo skya) and is used to depict the color for water, a goat, the sky, and the skin color of a king (10, 11, 12). This notation is shown in Figure 2. The additional character kya indicates that more than 50 percent of the color mixture is white. An actual quantitative measurement is difficult to carry out; however, one XRD pattern of a ngo kya sample indicated a higher kaolin:azurite ratio than an XRD pattern taken from a ngo sample. Greens. Basic green is denoted by pa (spang), an abbreviation fo r the Tibetan word meaning malachite (13). Pa, observed on all twenty-three Shambhala paintings, is used for rock crags, land masses, garments, jewels, and foliage. The green pigment was identified by FTIR and XRD in four samples as a mixture of malachite and brochantite. Since brochantite is associated with malachite deposits, the combination is probably a natural one (14). The mined source for malachite in Tibet was probably the same as previously mentioned for azurite (15). A mixed green was found on twenty-one Shambhala paintings. Jackson and Jackson describe a "compounded green" (sbyar ljang) derived from a mixture of orpiment and indigo (16). The notation uncovered is jang, occasionally written 'jang, and is used for nimbuses, mountains, lotus centers, and leaves. The color varies from deep blue to aqua to yellowish green. Five samples taken from five paintings were examined by FTIR, XRD, EPMA, and PLM. Examination of two of the five dispersed pigment slides revealed a mixture of realgar and clay. Two other slides contained a mixture of realgar, orpiment, and clay. The fifth contained a mixture of only orpiment and clay. Indigo, tentatively identified in three dispersed pigment slides, was positively identified by FTIR in one of the samples. UV Ivis spectrophotometry analysis of these samples is planned fo r the fu ture in hopes of definitively identifYing indigo. The chromatic differences found in the samples may be due to the fugitive nature of the indigo or to the discoloration of either realgar or orpimento Indigo may fade when applied thinly, especially when exposed to sunlight (17). Although each sample appears to be slightly different, it is thought that the original ingredients were the same: namely, clay, orpimentl realgar, and indigo. The notation jang kya mang skya), meaning light green, was revealed on two Shambhala paintings for decorative elements of a king's throne, clouds, and land masses (18). The color notation jang nag jang nag), meaning dark green, is documented on four Shambhala paintings and is used for leaves and land masses (19). The paint covering this notation as well as the jang kya has yet to be sampled. Yellow. Color notations fo r yellow (ser po) were documented on nineteen Shambhala paintings. The notations are actually written as one of the following three: se, ser, or sare. Se is the most abbreviated and sare is a misspelling, perhaps to facilitate writing. The pigment mixture for these notations was consistently fo und to contain orpiment mixed with kaolin and a small amount of red lead. Five samples from four paintings were taken from areas with sare. FTIR analyses indicate a kaolin-type clay, similar to the spectrum described for ka. Examination of four samples by EPMA identified silicon, aluminum, magnesium, and lead, as well as minor amounts of calcium, iron, and arsenic. PLM revealed clay particles mixed with spherical aggregates of red lead and fine to medium particles of orpiment. On one slide several large particles of realgar were identified. Realgar (arsenic disulfide) is often fo und in natural deposits with orpiment (arsenic trisulfide). Large deposits of orpiment exist near Chamdo in eastern Tibet and in the Yunnan Province of China (20, 21). One of the samples taken from the area marked se was nearly colorless. Surface elemental analysis by XRF identified arsenic as a major element, yet neither 80 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
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19. White, R. Personal communicatio
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occupation agreable pour charmer l'
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DE PEJN'FURE PRATIQUE. Par demit::
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In spite of the laments of certain
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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 102 and 103: 10. Thompson, op. cit., 61. 11. Ber
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 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
Page 152 and 153: arrow in Adonis's right hand ends a
Page 154 and 155: For the early works are executed wi
Page 156 and 157: J Figure 3. Fluorescence spectrul1'
Page 158 and 159: This property was deliberately used
Page 160 and 161: 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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