Historical Painting Techniques, Materials, and Studio Practice

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13. Hunt, W. H. 1905-1 906. Pre-Raphaelitism and the Pre-Raphaelite Brotherhood. London: Macmillan & Co., (1):276. 14. Hunt, W H. 1886. The Pre-Raphaelite Brotherhood: A fight fo r art. The Contemporary Review 49 (April):471-88, (May) :737-50, Oune):820-33. 15. Hamerton, op. cit., 46. 16. Of course, the Pre-Raphaelite Brotherhood in its strictest sense only endured from 1848 to 1854, so a purist might claim it as a Pre-Raphaelite technique, although all the Brothers quickly returned to traditional painting techniques, and only Hunt and John Everett Millais had ever developed it to any great extent. 17. Holman-Hunt, D. 1969. My Grandfather, His Wives and Loves. London: Hamish Hamilton, 18. 18. AITlOr, A. C. 1989. William Holman Hunt: The True Pre-Raphaelite. London: Constable, 266. 19. Hunt, W. H. 1872. Personal diary (May 25, 1872). Original manuscript in the John Rylands University Library, Manchester, England. 20. A Pre-Raphaelite Friendship, no. 136 (16 October 1878), 258. 21. Consistent results have been achieved in cross-section analysis carried out by the author, and by conservators at the Tate Gallery and University College, London, among others. Katz 165
Abstract The production of a painting in early nineteenth-century France followed a clearly defined sequence of steps. After drawings had been made, the composition was outlined on the prepared canvas and the modeling was indicated, often with a reddishbrown "sauce." Local color, light, and shade were laid in; this sketch was elaborated using a full range of tones laid out individually on the ebauche (palette). The final stage of painting refined this process further. This is demonstrated in Paul Delaroche's The Execution of Lady Jane Grey (1833). A pupil of Watelet and Gros, Delaroche received much popular acclaim during the 1830s, and a number of eminent painters passed through his studio. Thus he occupies a central position in the history of academic painting. Paul Delaroche: A Case Study of Academic Painting Jo Kirby* and Ashok Roy Scientific Department, National Gallery Trafalgar Square London WC2N 5DN United Kingdom Introduction The July Monarchy of Louis Philippe, who came to the throne in 1830, was a period of technological advance and increasing industrialization, marked by the rise of a wealthy and influential middle class. It was distinguished by its adherence to the philosophy of eclecticism, not only in politics, but also in the realm of the arts. Official art followed a middle course between the two dominant trends, Classicism and Romanticism, showing the careful composition, drawing, and modeling of the former and an interest in the subject matter and emotional content of the latter. The painting of the juste milieu could justly be described as the art of the bourgeoisie. Paul Delaroche, who rose to prominence at this time, was one of its most popular and successful exponents (1, 2). Born in 1797, the son of an art dealer, Delaroche (christened Hippolyte) entered the studio of Antoine-Jean Gros, a disciple of David, after early training with the landscape painter Louis-Etienne Watelet and with Constant Desbordes. The recipient of many honors, royal patronage, and several official commissions, Delaroche achieved early Salon success. In 1833, he inherited Gros's studio and became a professor at the Ecole des Beaux-Arts (3, 4, 5, 6). His atelier was perhaps the busiest and most effective of the period; his pupils included Gerome, Daubigny, Millet, Monticelli, and Thomas Couture, himself the master of Edouard Manet (7). The Execution of Lady Jane Grey Delaroche's The Execution if Lady Jane Grey, finished in 1833, achieved considerable success at the Salon exhibition of 1834. The subject, drawn from English Tudor history and depicted with ostensible accuracy, appealed to popular taste. The scene depicted-the moment immediately before the beheading-was that of the greatest dramatic tension; it also touched the sensibilities of the public without disgusting them. As Etienne-Jean Delecluze wrote, "The spectator can contemplate the axe ... without horror" (8) (Plate 33). The blindfolded Lady Jane fu mbles for the block; a figure who is probably intended to be Sir John Brydges, the Lieutenant of the Tower of London, gently guides her hand. On the left, a despairing lady-in-waiting turns her face towards the massive column; the other lady-in-waiting, her mistress's discarded dress across her lap, has fainted. The impassive executioner stands on the right. Delaroche's historical sources for the painting included the Martyrologue des Protestans of 1588, quoted in the Salon catalogue (9) . There were a number of other publications, as well as the works of other painters, upon which he could have drawn, including Hans Holbein the Younger's painting of Anne of Cleves, which was at the Louvre (10, 11). Delaroche undertook exhaustive research before any painting project (12). Adored by the crowds, the painting was praised and condemned in almost equal measure by the critics. The criticism that Delaroche's treatment was theatrical rather than dramatic, voiced by Gustave Planche among others, is interesting as it may reflect an aspect of the artist's practice: Delaroche used small model rooms, within which he arranged wax figures to assist in the composition of his paintings (13, 14). According to Edward Armitage, a for- * Author to whom correspondence should be addressed. 166 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
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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
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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
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 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
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