Historical Painting Techniques, Materials, and Studio Practice

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This property was deliberately used in the making of copper resinates. These are complex compositions of copper salts with various resinous acids, such as abietic and succinic acids, achieved by heating verdigris with Venetian turpentine or pine resins. The resulting substance shows no particulate matter, and a strong, bright green color. Copper resinate became the pigment of choice whenever bright green glazes were desired. An early account fo r the deliberate making of such a compound can be found in a fifteenth-century manuscript in the Biblioteca Casanatense (13). Unfortunately, the copper resinates show the same tendency to discolor, giving the meadow and the trees in the background of the Getty Titian their present brown color in place of the originally deep green color. In various areas on the painting, however, the copper resinate has retained some of its original color. In particular, the green leaves of grass near Adonis's foot stand out because of their bright, strong color. Examination of a cross section taken from that area showed that the copper resinate was not laid over the underpaint but rather mixed with lead white. This mixture may possibly have helped in preserving much of its original color. The green of the trees in the background was produced with copper resinate. The green that was used to paint the meadow near the vase at the lower-left corner consisted of a mixture of copper resinate and yellow ochre. The cross section showed that there were only two different paint layers on the gesso ground: one layer of yellow ochre, possibly applied in two coatings, and an upper layer of copper resinate. The leaves of the plants appear to be highlighted with white, and glazed with copper resinate. No other green pigments could be identified. This finding tallies with the use of greens in Titian's later Tarquin and Lucrezia (14). We were surprised that malachite, fo und in Titian's almost contemporary Bacchus and Ariadne or in Tintoretto's paintings in the National Gallery, could not be detected in the samples we took from the Getty painting (15, 16). Conclusion Our examinations show that the execution of the J. Paul Getty Museum's Venus and Adonis represents a stage between the Prado version and the National Gallery version. It stands technically in the middle between two extremes in Titian's stylistic development. The earliest stage is the Prado version in which an already conceived image is carefully designed and then executed and filled in accordingly. In Titian's later style, however, the painting grows out of an interaction between matter and concept. As every touch of the brush has its impact on all previous touches, there is a shift in the appearance of the final painting. Rather than resulting from a fixed plan, this way of creating a painting with the total problem of the picture in mind, is apt to be a continually developing and self-revising one. The Getty piece already represents a concept of painting in which form does not merely follow function, but rather grows out of a continuous interaction between the demands of the material and the artistic idea: "Obwohl das Werk erst im Vollzug des Schaffens wirklich wird und so in seiner Wirklichkeit von diesem abhangt, wird das Wesen des Schaffens vom Wesen des Werkes bestimmt" (17). Notes 1. Ovid. 1986. Metamorphoses. Translated and introduced by M. M. 1. Middlesex, Penguin Books, Ltd., 239, 244-45. 2. van Asperen de Boer. J. R. J. 1975. An introduction to the scientific examination of paintings. Netherlands Yearbook Jo r History if Art (26): 1-40. 3. Plesters, J. 1980. Tintoretto's Paintings in the National Gallery, National Callery Technical Bulletin (4):37. 4. Wethey, H. E. 1975. The Paintings oj Titian, Vol. III: The Mythological and Historical Paintings. London: Phaidon, plate 189. Birkmaier, Wallert, and Rothe 125
5. Gettens, R.]., and M. E. Mrose. 1954. Calcium sulphate minerals in the grounds of Italian paintings. Studies in Conservation (4):182-83. 6. Valcanover, F. 1990. An introduction to Titian. In Titian, Prince oj Painters. Venice, 3-28. 7. The only documentary evidence for it can be fo und in the fifteenth-century manuscript in Modena Biblioteca Estense (MS a.T.7.3), fol. 3r. Also see Wallert, A. 1984. Orpiment and realgar, some pigment characteristics. MaltechniklRestauro (90):45-58. 8. Gettens, R.]., and G. L. Stout. 1966. Painting Materials: A Short Encyclopedia. New York: Dover Publications. 9. Rome, Biblioteca Casanatense MS 2265, fol. 91r, describes the making of the blue glass. On fol. 88r, the manuscript describes the actual processing of the glass into a pigment for painting: "A macinare ismalto azuro che poi pingere in suo colori. Pilia il smalto et rompelo sotile poi macinelo sopra il porfido cun sorro de ovo cun uno pocho di melle. Masinalo sutile como vopi et se andasse secondo azonze uno pocho de aqua. Et quando e masinato lava fora il mele et 10 ovo cun l'aqua e remanera cossa bellisima." 10. Wallert, A. 1991. "Cimatura de grana"; Identification of natural organic colorants and binding media in mediaeval manuscript illumination. Zeitschrijt ju r Kunsttechnologie und Konservierung (5):74-83. 11. Merrifield, M. P. 1849. Original Treatises on the Arts if Painting, Vol. II. London: John Murray, 667. 12. Kiihn, H. 1964. Griinspan und seine Verwendung in der Malerei. Farbe und Lack, (70):703-1 1. 13. Rome, Biblioteca Casanatense MS 2265, fol. 99r : "A fa r stagnolo verde. Piglia vernice liquida e olio de linosa equal misura e meteli denmtro verderame bene pulverizato. Poi fa bolire tanto che habia il colore a tuo modo. Poi 10 adopeera." The result of this recipe is a complex copper resinate/oleate compound. This recipe shows that copper resinates were not always made of Venice turpentine as is generally assumed on the basis of a description in De Mayerne's treatise. 14. Jaffe, M., and K. Groen. 1987. Titian's Tarquin and Lucrezia in the Fitzwilliam. The Burlington Magazine, (CXXIX):162-71. 15. Lucas, A., and J. Plesters. 1978. Titian's Bacchus and Ariadne. National Callery Technical Bulletin (2) :25-48, especially 4 1. 16. Plesters, op. cit., 32-48. 17. Heidegger, M. 1970. Der Ursprung des Kunstwerkes. Stuttgart: Reclam Verlag, 66. 126 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
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some used for painting (i.e., amber
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ange of artists' materials, books o
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Figure 3. Personal account book, 18
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paper resulted in a volume of corre
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4. HKI MS 865-1993, 497. The move i
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[1] How to make a gold ground. Take
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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
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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
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elonged to William Mallord Turner (
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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
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 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
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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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