Historical Painting Techniques, Materials, and Studio Practice

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Plate 3a, above. Peter Paul Rubens, 1577-1640, The Virgin as the Woman of the Apocalypse, 1623. Oil on wood. The]. Paul Getty Museum, Malibu (85.PB. 146). Plate 3b, right. Detail from The Virgin as the Woman of the Apocalypse, illustrating the use of impasto white under highlighted areas.
Plate 4a, above. Jacques Louis David, 1748-1825, The Sisters Zenalde <strong>and</strong> Charlotte Bonaparte, 1821. Oil on canvas. The J. Paul Getty Museum, Malibu (86.PA. 740). Plate 4b, right. Detail Jrom The Sisters Zenalde <strong>and</strong> Charlotte Bonaparte, illustrating the imperceptible shift from dark to light tones resulting from physically blending pigments on the suiface
Page 2: Historical Painting Techniques, Mat
Page 5 and 6: Contents vii viii Foreword Preface
Page 7 and 8: Foreword One of the first events or
Page 9 and 10: The discussions in this volume pres
Page 11: Plate 2a, above right. Attributed t
Page 15 and 16: Plate 7a, above. Valerio Mariana da
Page 17 and 18: Plate 9. Marco Palmezzano, Mystic M
Page 19 and 20: Plate 13, right. Surya in his Chari
Page 21 and 22: Plate 16. The Fifth King of Shambha
Page 23 and 24: Plate 20. Cross section oj Sample 3
Page 25 and 26: Plate 26, top. Titian, Venus and Ad
Page 27 and 28: Plate 29. Cross sections of the St.
Page 29 and 30: Plate 33. Paul Delaroehe, The Execu
Page 31 and 32: Plate 35, right. Detail Jrom the lo
Page 34 and 35: Abstract This paper argues for an i
Page 36 and 37: we find a description of the affini
Page 38 and 39: 2. A Practical Treatise on Painting
Page 40 and 41: knowledge and understanding of the
Page 42 and 43: Table 1. Scientific methods used Jo
Page 44 and 45: the painting together, share backgr
Page 46 and 47: y distance with "the aid of the air
Page 48 and 49: ected, shadows would appear matte a
Page 50 and 51: 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
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[1] How to make a gold ground. Take
Page 74 and 75:
into a glass, and put in a bit of w
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[37] To make crude verzino for writ
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it on what you are working, with a
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28. On these "clothlet colors," see
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it also includes instructions fo r
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Ricordi di belli colori Initially i
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Figure 4. Gherardo Cibo, "Fusaina [
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The treatise is typical for the lat
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Filza CXLIII, fols. 1122r, 1125v, 1
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that is, plaster of Paris, which ha
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100 80 60 40 a 3500 30.00 2500 2000
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process described by Cennini for ge
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Abstract The frequent use of verdig
Page 100 and 101:
strating that spreading this glaze
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10. Thompson, op. cit., 61. 11. Ber
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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
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Table 1. Tibetan color names, trans
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J Figure 3. Three-dimensional spect
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Figure 5. Detail IR-reflectogram fr
Page 118 and 119:
Abstract Icons preserved in the Nil
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I )--------------------------1 I i
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The understanding of an icon and it
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Abstract As part of a five-year sys
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later transferred to an artificial
Page 128 and 129:
Winchester Cathedral Holy Sepulchre
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Gilding. Gold leaf was applied for
Page 132 and 133:
Winchester Cathedral Holy Sepulchre
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scanning electron microscopy I ener
Page 136 and 137:
Notes 1. Park, D. 1983. The wall pa
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Abstract It is rare for ancient ext
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Sa. Location : Salisbury west front
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sheltered eye on the southernmost c
Page 144 and 145:
Abstract Extensive examination of A
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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
Page 162 and 163:
Figure 3. Infrared reJlectogram ass
Page 164 and 165:
Figure 5. Irifrared niflectogram as
Page 166 and 167:
followed by modeling layers and gla
Page 168 and 169:
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
Page 174 and 175:
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
Page 184 and 185:
Figure 1. Perspective drawing of Ve
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Hague, 1996). The author is also gr
Page 188 and 189:
Abstract The paper presents some re
Page 190 and 191:
Summary We can conclude after this
Page 192 and 193:
the product, a salesman motivated b
Page 194 and 195:
complaints, have been strictly adhe
Page 196 and 197:
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
Page 202 and 203:
Figure 3. The Execution of Lady Jan
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Figure 5. Detail of Lady Jal1e Grey
Page 206 and 207:
Figure 6. Paul Delaroche, The Execu
Page 208 and 209:
38. Merimee,J.-F.-L. 1830. De la pe
Page 210 and 211:
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
Page 216 and 217:
TabLe 1. Dates of manufa cture of i
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Kennedy of the Ulster Museum, Viola
Page 220 and 221:
Figure 2. James Whistler, Nocturne
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5). There are many such examples of
Page 224 and 225:
Abstract This paper discusses aspec
Page 226 and 227:
1960s in North America. Requiring b
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2. Eder, ]. M. 1945. History of Pho
Page 230 and 231:
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
Page 236 and 237:
8. It is not clear when people firs
Page 238 and 239:
Errata for Historical Painting Tech
Page 240:
PAGE 159 Figure 2. Image source: Pe
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