Historical Painting Techniques, Materials, and Studio Practice

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followed by modeling layers and glazes, with the addition of new drawing as guidelines-would have lent itself to the participation of the workshop. The repositioning of the Virgin's head during the painting process could indicate the continued involvement of the master. Painting with modifications and corrections fronl the underdrawing, and modeling of tone using very few layers of paint, as is seen in the side panels, requires self-assurance and authority; it would be harder to use assistants in the production of a painting when this was the method of working. Workshop participation in the center panel rather than the side and predella panels is not usually expected, although there is precedent for it. Acknowledgments The authors thank Molly Faries, Maryan Ainsworth, and John O. Hand for many helpful discussions and the staff of the Department of Visual Services, National Gallery for their assistance. Notes 1. Taubert,]. 1975. Pauspunkte in Tafelbildern des 15. und 16.Jahrhunderts. Bulletin de l'Institute Royale du Patrimoine Artistique (XV) :390. 2. Bruges, State Archives, Aanwinsten 3804: Register van de burgerlijke vonissen van de Schepenkamer te Brugge 1518-1519, fols. 82v-83r. See also Parmentier, R. A. 1937. Bescheiden omtrent Brugsche Schilders in de 16e eeuw: 1. Ambrosius Benson. Handelingen van het genootschap Societe d'Emulation te Brugge LXXX, 92- 3. See also Marlier, G. 1957. Ambrosius Benson et la peinture a Bruges au temps de Charles-Quint, Damme, 42-43. 3. The St. Anne Altarpiece was the subject of the Curatorial Colloquy III of the Center fo r Advanced Study in the Visual Arts, 20-24 May 1991. 4. Hand, ]. O. 1986. In Early Netherlandish Painting. Eds. ]. 0. Hand and M. Wolff. Washington: National Gallery of Art, 63-74. See also Hand,]. O. 1992. The Saint Anne Altarpiece. Exhibition brochure. Washington: National Gallery of Art. 5. Klein, P 1986. Dendrochronological Report on The St. Anne Altarpiece. 23 April 1986. Klein determined that there are two groups of boards. Three of the boards, two from St. Anthony and one from St. Nicholas, come from the same tree. The felling date of this tree was estimated as 1496 (using the assumption of fifteen sapwood growth rings) . The other group of boards have rings that suggest a felling date of 1402. Assuming the wood was stored for ten years, Klein estimates the altarpiece could have been manufactured from 1506 onward. 6. von Bodenhausen, E. E 1905. Gerard David und seine Schule. Munich: E Bruckman. 7. Marlier, op. cit. (note 2), 46-50. 8. Scillia, D. G. 1975. Gerard David and Manuscript Illumination in the Lowlands. Ph.D. diss. Case Western Reserve University, Ohio. 9. van Miegroet, H.]. 1989. Gerard David. Antwerp: Mercatorfonds, 313-14. 10. Verougstraete-Marcq, H., and R. Van Schoute. 1989. Cadres et supports dans la peinture fiamande aux 15e et 16e siecles. Heure-Ie-Romain, 9, 76-77. 11. Gettens, R.]., E. W FitzHugh, and R. L. Feller. 1993. Calcium Carbonate Whites. In Artists' Pigments: A Handbook of their History and Characteristics, Vo!' 2. Washington: National Gallery of Art, 203-26. 12. Infrared reflectography of the main panels was undertaken (1981-1982) by Molly Faries and in 1990 by Maryan Ainsworth. Reflectography of the Toledo panels was completed in 1984 by Faries, and of the Edinburgh panels in 1990 by the National Gallery of Art. Faries used a high resolution Grundig FA 70H video camera with a TV Macromar 1:2.8/36 mm lens and a Kodak 87 A Wratten filter on a Hammamatsu N214 vidicon detector. The assemblies were prepared by photographing the image as it appeared on the monitor and pasting the photographs together. 13. A Leitz Orthoplan microscope was used with apochromat lenses. The samples were mounted in Cargille Meltmount and examined at xl00-630. 14. Faries, M. 1986. Division of labour in the production of panel paintings in the workshop of Jan van Score!' In Kunst voor de beeldenstorm. Exhibition catalogue. 's-gravenhage: 113. 15. Coremans, P, R. ]. Rutherford, and ]. Thissen. 1952. La technique des Primitifs Flamands. Etude scientifique des materiaux, de la structure et de la technique picturale. Studies in Conservation (1):1-29. Metzger and Berrie 133
16. Brinkman, P W. E, L. Kockaert, L. Maes, L. Masschelein-Kleiner, E Robaszynski, and E. Thielen. 1984. Het lam Godsretabel van van Eyck. Een heronderzoek naar de materialen en schildermethoden. 1. De plamuur, de isolatie!aag, de tekening en de grondtonen. Bulletin Institut Royale Patrimoine Artistic-KIK (20):137- 66. 17. Brinkman, P W. E, L. Kockaert, L. Maes, E. M. M. Thielen, and J. Wouters. 1988- 1989. Het lam Godsretabe! van van Eyck een Heronderzoek naar de materialen en schildermethoden. 2. De hoofdkleuren blauw, groen, gee! en rood. Bulletin Institut Royale Patrimoine Artistic-KIK (20):26-49. See also Coremans, et al., op. cit. and Brinkman, et a]., 1984, op. cit. 18. A lEOL 6300 scanning electron microscope and a Link energy dispersive spectrometer with the Super ATW Si(Li) detector were used. Analysis of a green particle in the bottom layer of paint in the cloth of honor showed it was composed of copper, chlorine, and oxygen. 19. Butler, M. H. 1976. A technical investigation of the materials and technique used in two Flemish paintings. Museum Studies (The Art Institute of Chicago) (8):59- 71. 20. Wyld, M., A. Roy, and A. Smith. 1979. Gerard David's "The Virgin and Child with Saints and a Donor." National Callery Technical Bulletin, Vol. 3. London: National Gallery, 5-65. 21. Brinkman, 1988-1989, op. cit. See also Coremans, et al., op. cit. and Brinkman, et al., 1984, op. cit. 134 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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500 450 As Ph As 400 350 Fe Co 300
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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
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
Page 162 and 163: Figure 3. Infrared reJlectogram ass
Page 164 and 165: Figure 5. Irifrared niflectogram as
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
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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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