Historical Painting Techniques, Materials, and Studio Practice

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Hague, 1996). The author is also grateful to Rob Ruurs of the University of Amsterdam for a fruitful and stimulating discussion. Notes 1. Van Berckhout may have been able to see the two town views, The Little Street and The View of Delft, and certainly interior scenes such as The Music Lesson, A Woman Holding a Balance, The Concert, and The Allegory of Painting. He might have also seen The Love Letter, which is dated 1667 (Blankert) or 1669-1670 (Wheelock). 2. Ruurs, R. 1991. Functies van architectuurschildering, in het bijzonder het kerkinterieur. Perspectieven: Saenredam en de architectuurschilders van de 17e eeuw: Boymans-van Beuningen Rotterdam, 50. 3. Montias, J. M. 1991. "Perspectieven" in zeventiende-eeuwse boedelbeschrijvingen. Perspectiven: Saenredam en de architectuurschilders van de 17e eeuw: Boymansvan Beuningen Rotterdam, 28. 4. Bredius, A. 1915-1922. Kunstler-Inventare, Urkunden zur Cesichte der Hollandischen Kunst des XVIten, XVIIten und XVIIItenjahrhunderts 1-7. Den Haag.Vol. 1:238. 5. Montias, op. cit., 24. 6. Montias, J. M. 1989. Vermeer and his Milieu: A Web of Social History. Princeton, 339 (doc. 364). 7. Vredeman de Vries, H. 1604. Perspective. Dat is de hoochgheroemde cOl'lste . . . . Den Haag. 8. Marolois, S. 1628. Perspective contenant la tMorie, pratique et instructionfondamentale d'icelle. Amsterdam. 9. Hondius, H. 1647. Crondige onderrichten in de optica of de perspective konste. Amsterdam. 10. Bosse, A. 1664. Franfois Desargues. Algemene manier tot de practyck der perspective gelyck tot die der meet-kunde met de kleyn voet-maat [ ... J by-een-gevoeght door. Amsterdam. 11. Eisler, M. 1916. Der Raum bei Jan Vermeer. jahrbuch der Kunsthistorischen Sammlungen der Allerhachsten Kaiserhauses. Wi en-Leipzig: Band XXXIII (4):213-91. 12. Wilenski, R. H. 1928. An introduction to Dutch Art. New York, 284-86. 13. Swillens, P. T. A. 1929. Een perspectivische studie over de schilderijen van Johannes Vermeer van Delft. Oude Kunst (7): 129-61. 14. Swillens, P. T. A. 1950.joharmes Vermeer, Painter of Delft 1632-1675. Utrecht Brussels. 15. Hyatt Mayor, A. 1946. The photographic eye. The Metropolitan Museum of Art Bulletin (5):15-26. 16. Gowing, L. 1953. Vermeer. 17. Seymour Jr., C. 1964. Dark chamber and light-filled room: Vermeer and the camera obscura. The Art Bulletin XLVI (3):323-31. 18. Schwarz, H. 1966. Vermeer and the camera obscura. Pantheon (XXIV): 170-82. 19. De Monconys visited numerous artists during his travels all over Europe to meet with fellow scientists. 20. Mocquot, M. 1968. Vermeer et Ie portrait en double mirror. Le club franfaise de la medaille 18 (1):58-69. 21. Kunsthistorisches Museum, Vienna. 22. Isabella Steward Gardner Museum, Boston. 23. Finck, D. 1971. Vermeer's use of the camera obscura: a comparative study. The Art Bulletin. (LIII):493-505. 24. Wheelock Jr., A. K. 1977. Perspective, Optics, and Delft Artists Around 1650. New York. 25. de Boer, P. G. 1988. Enkele Delftse zeventiende eeuwse kerkportretten opnieuw bekekert. Dissertatie: Delft. 26. Arasse, D. 1994. The Art of Painting. Paris. 27. Hulten, K. G. 1949. Zu Vermeer's Atelierbild. Konsthistorisk Tidskrift (XVIII):90- 98. 28. The first pin hole we discovered in the vanishing point of a Vermeer painting was in the Lady Writing a Letter with her Maid from the National Gallery of Ireland. We are grateful to Andrew O'Connor, chief conservator of the gallery, fo r letting us examine the painting just after its recent rediscovery. 29. Ruurs, R. 1987. Saertredam: The Art of Perspective. Amsterdam, Philadelphia, Gronmgen. 30. Giltaij, J. 1991. Perspectiven, Saenredam en de architectuurschilders van de 17e eeuw. Perspectiven: Saemedam en de architectuurschilders van de 17e eeuw: Boymansvan Beuningen Rotterdam, 16. Wadum 153
31. Herzog Anton Ulrick-Museum, Braunschweig. 32. Staatliche Museen zu Berlin, Preul3ischer Kulturbesitz, Gemaldegalerie, Berlin- Dahlem. 33. H. M. Queen Elizabeth II, Royal Collection, London. 34. Rijksmuseum, Amsterdam. 35. The National Gallery, London. 36. Bosse, op. cit. 37. Ibid. 38. From Offi cer and Laughing Girl, ca. 1658 (The Frick Collection, New York) , to A Young Woman Standing at the Virginal, ca. 1673-1675 (The National Gallery, London). 39. See fo rthcoming exhibition catalogue on Johannes Vermeer (Washington, 1995; The Hague, 1996), in which various aspects of Vermeer's paintings are examined. 154 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
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Figure 5. Detail IR-reflectogram fr
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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
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Winchester Cathedral Holy Sepulchre
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Gilding. Gold leaf was applied for
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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
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 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
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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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