Historical Painting Techniques, Materials, and Studio Practice

Recommendations

Info

scanning electron microscopy I energy dispersive spectroscopy (SEM/EDX) analysis indicated a low oxygen peak, which may indicate that a mixture of lead dioxide and lead sulfide is present here. In addition, cinnabar has altered to its dark form, metacinnabar, as shown in Sample 37, taken from the darkened cheek patch of a prophet on the vault. Acknowledgments I am grateful to the Leverhulme Trust for their generosity in funding the five-year study, and to the Skaggs Foundation for their support of the conservation program at Winchester. Particular thanks are also due to G. Cressey and P. Tandy of the Natural History Museum, and to David Park, Sharon Cather, and Robyn Pender of the Conservation of Wall Painting Department, Courtauld Institute of Art. Table 1. Samples Jrom the east wall oj the Holy Sepulchre Chapel, Winchester Cathedral Sample No: 3 Location and Description E. wall, upper tier, S. side, olive green background to left of Nicodemus' foot. Original Polychromy • vivianite 20llm • natural ultramarine 30llm Indications of binding medialPigment alterations and other additions • vivianite has partially altered from blue to yellow ________ -- -- -- -- --. I ;m e p I t er w ; il i c ha r o o al b la ck ;n cl us ;o n ; s =. 40 O m -- ----------__________ - E. wall, upper tier, S. side, red background 5 6 7 8 9 10 21 22 adjacent to cross, red over blue. E. wall, upper tier, N. side, uppermost edge of Joseph of Aramathea's hat, grey surface over red pigment on blue. E. wall, upper tier, N. side, Joseph of Aramathea's red drapery, translucent dark red shadow just below beard. E. wall, upper tier, Christ's right fOOl, mid-dark flesh tone. E. wall, upper tier, Nicodemus' pink drapery, at hip level, pale pink with highlight. E. wall, lower tier, N. side, Joseph of Aramathea's red robe, darkest red tone at uppermost edge. E. wall, lower tier, N. side, Christ's proper hand, flesh painting with pink drop of blood on surface. E. wall, lower tier, Harrowing a/Hell, deep purple shadow in drapery. E. wall, lower tier, Harrowing of Hell, green outer drapery (query modem retouching). • cinnabar in red lead matrix with a f e w particles of natural ultramarine • calcium carbonate crust on surface 220J,lm • natural ultramarine 30llm - cinnabar IOllm • natural ultramarine and charcoal black in a lime white matrix 10llm • lime plaster with charcoal black inclusions 250m • haematite 20m • yellow iron oxide 2m • trace calcium carbonate • cinnabar 551lm • lime plaster! OOm • red, yeUow and green iron oxides and charcoal black 10m • green iron oxide 45 m - lime white combined with yellow iron oxide IOOllm • yellow iron oxide 25).101 • red iron earth 50).1m • trace I ime plaster • red lake with a trace of ultramarine in a calcium carbonate matrix 100).1m. The trace of calcium sulphate present in the layer may represent the substrate of the lake pigment, now faded. • plaster substrate with charcoal black 80).1m • cinnabar 30l1m • yellow iron oxide IOl1m • plaster substrate with a few charcoal black inclusions 200l1m • cinnabar 20l1m • trace yellow iron oxide • green iron oxide 4511m • lime white with yellow iron oxide particles 100l1m • lime white, yellow iron oxide and charcoal black 60l1m • natural ultramarine, charcoal black and lime white 90l1m • lime white 40l1m • plaster substrate 200Jlm • red lake pigment has faded • cobalt green (CoO'nZnO) 23 24 25 26 E. wall, lower tier, lower edge of sarcophagus, deep purple over yellow. E. wall, lower tier, Christ's loin cloth, yellow shadow over deep yellow. E. wall, upper tier, Magdalene's drapery, hem at calf level, yellow & white bole over red/purple and black paint layers. E. wall, upper tier, Nicodemus' cloak, blue and white vair lining, green area over blue. 27 E. wall, central decorative border, 4th circular motif from north side, impasto motif in orange 28 29 30 31 32 and white. E. wall, upper tier, Nicodemus' right proper leg , brilliant rich red highlight over red lead and yellow earth. E. wall, upper tier, wavy ground between Nicodemus' legs, deep red brown over pink. E. wall, lower tier, censing angel, halo. trace gilding on bole over brown paint layer and red lead. E. wall, lowertier, N. side, angel's drapery, green over yellow near hem. E. wall, upper tier, N. side, grey/green background between legs of Joseph of Aramathea. • charcoal black, redlbrown iron oxides with a few particles of cinnabar 80/1m • yeJlow iron oxide combined with lime white 90l1m • plaster substrate l20/1m • yellow iron oxide and umber with a few charcoal black particles 30/1m • plaster substrate 100)1m • resinous layer 50)1m • white layer (calcium carbonate + protein) 30)1m • resinous layer lOO).lm • white layer (calcium carbonate + protein) 20/1m • resinous layer 100llm - vivianite in calcium carbonate matrix 90l1m • natural ultramarine in lime matrix 100J.lm • plaster substrate 300).lm • red lead combined with lead white and calcium carbonate with a trace of proteinaceous binding medium present 200).lm • carbon black 10/1m • cinnabar combined with red lead 50).lm • red lead IOO/1m • red iron oxide 15J.lm • cinnabar 10).lm • plaster substrate/ground 400/1m • underdrawing, red iron oxide and cinnabar IOOllm • gold leaf5/1m • resinous mordant 20J.lm • white layer (calcium carbonate + protein) 10/1m • dark resinous layer 15/1m • white layer (calcium carbonate + protein) 20m • dark resinous layer 25).lm • green iron oxide combined with some charcoal black particles 50/1m • yellow iron oxide 75m • yellow iron oxide combined with lime white 180/1m • plaster substrate with charcoal black particles 120/1m • charcoal black with a few red and yellow iron oxide particles 80).lm • plaster substrate 200llm • a proteinaceous binding medium is present in the white layers • vivianite has partially altered from blue to yellow • translucent crust of calcium carbonate combined with calcium sulphate on surface • a proteinaceous binding medium is present in the red paint layer • white crust on surface • white crust and trace pigment on surface • a proteinaceous binding medium is present in the white layers • trace white crust combined with a few charcoal black particles The table gives the location where each sample was taken, the sample number. and the stratigraphy of the various layers from the top down, with the thickness of each layer in microns (pm). Howard 101
Table 2. Samples from the vest wall if the Holy Sepulchre Chapel, Winchester Cathedral Sample No: 34 35 36 Location and Description W. wall, upper tier, N. side, green background colour below white scroll. W. wall. upper tieT, St. John, drapery below knee, black over pink. W. wall, upper tier, S. side, (left as viewed) leg of Joseph of Aramalhea, dark green linear detail on back of calf. Original Polychromy • viviani!e IOOllm • charcoal black 80llm • lime plaster substrate 60llm • darkened lead pigment l5IJm • lime plaster substrate 250 11m • vivianite 150JJm • charcoal black and lime white 40llm • I ime plaster substrate IOOJJm • trace of red pigment from 12th century scheme 20JJm Coatings! Indications of binding media! Pigment alterations • beeswax coating containing calcium carbonate and calcium sulphate 20llm • proteinaceous coaling 30llm • vivianite has partially altered from blue to yellow • beeswax (trace) • proteinaceous coating • lead pigment has altered to fonn a dark product which appears to be a mixtur of lead dioxide (plattnerite) and lead sulphide. • beeswax (trace) • proteinaceous coating • vivianite has partially altered from blue to yellow Table 3. Samples from the north wall of the Holy Sepulchre Chapel, Winchester Cathedral Sample No: 11 12 13 14 Location and Description N. wall, E arch, soffit, E. side, upper figure, left proper arm, pale pink drapery. N. wall, E arch, chamfer on S. side, E end, 6th ashlar block from apex, yellow over green on plaster. wall, E arch , S face, E side, C13th vine scroll in red on plaster. N. wall, E arch, soffit, E side, lower figure, thick beige coating over green paint of drapery. Original Polychromy • white, lead-containing pigment with charcoal black, calcium carbonate, calcium sulphate & red pigment particles • yellow, lead-containing layer which appears white towards perimeter. A few yellow iron oxide particles are present • lime ground - calcium carbonate with calcium sulphate and a trace of wax present • yellow earth pigment in lead white matrix • vivianite in lead white matrix • lime white ground • red earth • lime ground • vivianite in lead white matrix Coatings! Indications of binding media! Pigment alterations • proteinaceous coating • proteinaceous material is indicated in both paint layers • vivianite has partially altered from blue to yellow • beeswax • proteinaceous coating • beeswax • proteinaceous coating • thick lead white layer • vivianite has partially altered from blue to yellow The tables give the location where each sample was taken, the sample number, and the stratigraphy of the various layers from the top down, with the thickness of each layer in microns (Jim). Table 4. Samples from the south wall of the Holy Sepulchre Chapel, Winchester Cathedral Sample No: 16 17 18 19 20 41 Location and Description S. wall, E. bay, above recess, blue background behind donkey's left ear, thick dark impasto over blue background. S. wall, W bay, above recess, E. side, old cleaning test area, coating from in key mark S. wall, W. bay, above recess, E. side, old cleaning test area, coating over red! brown paint layer. S. wall, W. bay, above recess, W. end, CI2th angel, area fluoresces in uv, coating over black and orange paint. S. wall. W. bay, recess, lower zone, central area of dark red 'drapery', coating over redlblack paint. S. wall, E. bay, above recess, Washing offeer, bright green from 'border' above Christ's head. Original Polychromy • darkened lead pigment 100llm • natural ultramarine (2Sllm) • organic analysis only • carbon black pigment 5J1m • red earth in lime matrix 10JJm • lime ground 40).lm • lime plaster 200llm • black and red particles in a lead white matiix 351lm • lime ground l40llm - lime plaster substrate 400JJm • red iron oxide 2SIlm • charcoal black 40llm • blue/green copper chloride green layer 50llm • paler blue/green copper chloride layer 50llm • calcium carbonate with a little calcium sulphate present 20llm Coatings! Indications of binding media! Pigment alterations • proteinaceous material on surface • lead pigment has altered to fonn a dark product which appears to be a mixture of lead dioxide (plattnerite) and lead sulphide • layers of beeswax • beeswax with a small amount of proteinaceous material • extremely thin coating present which is almost completely combined with the upper pigment layer. As yet unidentified • beeswax • trace coating on surface • copper chloride green may be the product of an alteration prOcess The table gives the location where each sample was taken, the sample number, and the stratigraphy of the various layers from the top down, with the thickness of each layer in microns (/-un). Table 5. Samples from the vault if the Holy Sepulchre Chapel, WiNchester Cathedral Sample No: 15 37 38 39 40 42 43 44 45 46 Location and Description Vault, E. bay, E. segment, under left proper hand of Christ, 'pea' green background of mandorla. Vault, E. bay, S. segment, W. side, prophet in roundel, darkened cheek patch. Vault, E. bay, S. segment, W. side, prophet in roundel, yellow flesh painting of hand. Vault, E. bay, S. segment, W. side, prophet in roundel, hand, dark flesh area. Vault, E. bay, W. side, S. segment, prophet in roundel, left side, dark band around edge of roundel. Vault, E. bay, S. segment, W. side, prophet in roundel, red linear detail of robe over now black layer. Vault, E. bay, E. segment, mandorla, S. side, green border with black on surface. Vault, E. bay. E. segment, S. side, green background below Christ's hand, white decorative spot over green. Vault, E. bay, E. segment, mandorla, S. side, green over red. Vault, E. bay, E. segment, mandorla, N. side, brilliant green of border. Original Polychromy • vivianite 75JJm • black (darkened cinnabar) particles in lead white matrix ISllm • plaster substrate 140llm • yellow iron oxide 15JJm • lime white ground 50l1m • plaster substrate 200llrn • charcoal black and red iron oxide 40l1m • lime white ground 100llm • plaster substrate • dark red/brown lead-based layer 651lm • lime white ground 751lm • red earth 1251lm • dark redlbrown lead-based material 551lm • white ground 751lm • plaster substrate 400llm • dark red/brown lead-based material 75J.1m • lime white ground 180llm • lead white 90l1m • vivianile 55J.1m • white layer (calcium carbonate combined with calcium sulphate) 50llm • trace red pigment • pale blue/green copper-based layer 351lm • white ground 751101 • plaster substrate 300llm Coatings! Indications of binding media! Pigment alterations • beeswax • proteinaceous coating • vivianite has partially altered from blue to yellow • proteinaceous coating with additional components of calcium carbonate, calcium sulphate and a trace of wax 151lm • cinnabar has altered to its black meta fonn • proteinaceous coating 10llm • proteinaceous coating with additional components of calcium carbonate and calcium sulphate 30JJm • proteinaceous material has penetrated paint layers • proteinaceous coating 20llm • lead pigment has altered to fonn a dark material which appears to be a mixture of lead dioxide (plattnerite) and lead sulphide • proteinaceous coating 2SI1m • lead pigment has altered to fonn a dark material which appears to be a mixture oflead dioxide (plattnerite) and lead sulphide • proteinaceous coating IOllm • lead pigment has altered to fonn a dark material which appears to be a mixtur of lead dioxide (plattnerite) and lead sulphide • proteinaceous coating 51lm • beeswax coating • proteinaceous material is incorporated in wax coating 351lm • proteinaceous coating 51lm The table gives the location where each sample was taken, the sample number, and the stratigraphy of the various layers from the top down, with the thickness of each layer in microns (Jim). 102 Historical Painting Techniques, Materials, and Studio Practice
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 and 12:
Plate 2a, above right. Attributed t
Page 13 and 14:
Plate 4a, above. Jacques Louis Da
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
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 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 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
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
Page 170 and 171: o . (Vv..-.< 1 2. underdrawing, and
Page 172 and 173: The key position of Lamentation in
Page 174 and 175: Figure 1. Workshop of Jan Bruegel,
Page 176 and 177: Figure 3. Camelis Vroom, Landscape
Page 178 and 179: Figure 5. Infrared photograph of Es
Page 180 and 181: at the beginning of the seventeenth
Page 182 and 183: artist like Vermeer had to use all
Page 184 and 185:
Figure 1. Perspective drawing of Ve
Page 186 and 187:
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
Page 198 and 199:
13. Hunt, W. H. 1905-1 906. Pre-Rap
Page 200 and 201:
Figure 1. The Execution of Lady Jan
Page 202 and 203:
Figure 3. The Execution of Lady Jan
Page 204 and 205:
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
Page 212 and 213:
Figl/re 3. Detail if lower left, s/
Page 214 and 215:
Figure 5. J. M. W. Tumer's The Dawn
Page 216 and 217:
TabLe 1. Dates of manufa cture of i
Page 218 and 219:
Kennedy of the Ulster Museum, Viola
Page 220 and 221:
Figure 2. James Whistler, Nocturne
Page 222 and 223:
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
Page 228 and 229:
2. Eder, ]. M. 1945. History of Pho
Page 230 and 231:
Figure 1. Jan Baptiste Collaert, Co
Page 232 and 233:
sudden increase in the dimensions o
Page 234 and 235:
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
show all

Historical Painting Techniques, Materials, and Studio Practice

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?