Historical Painting Techniques, Materials, and Studio Practice

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Figure 6. Paul Delaroche, The Execution of Lady Jane Grey, ca. 1834. Canvas, 45. 7 X 53.3 e/11. Corporation of London, Guildhall Art Gallery. IV, were reproduced by lithography. Artists were also able to keep their works in the public eye by means of high-quality engravings and Delaroche had an arrangement with the print publisher Adolphe Goupil to produce and publish engravings, after his paintings (41). For large paintings, including Lady Jane Grey, The Children of Edward IV, and Joan of Arc, he painted a reduced-scale copy from which the engraving could be made (42) . In the case of Lady Jane Grey, it is possible that the painting now in the collection of the Guildhall Art Gallery, Corporation of London, is the reduced-scale copy (Fig. 6) (43). The engraving, by Mercurij, one of several engravers who engraved the painter's works fo r Goupil, was begun in 1834, but was only completed in 1857, the painter himself having died the previous year (44). Acknowledgments The authors would like to thank John Leighton, curator of nineteenth-century paintings at the National Gallery, fo r generously sharing the information he has gained during his research with the authors; Rachel Billinge, Leverhulme Research Fellow at the National Gallery, for infrared reflectography carried out on the painting; Raymond White fo r examination of the paint medium by gas chromatography mass spectrometry; Sara Hattrick and the Photographic Department for photography. Notes 1. Boime, A. 1971. The Academy and French Painting in the Nineteenth Century. London: Phaidon, 9-21. 2. Boime, A. 1980. Thomas Couture and the Eclectic Vision. New Haven and London: Yale University Press, 3-35. 3. Delaborde, H., and J. Godde. 1858. Oeuvre de Paul Delaroche, reproduit en photographie par Bingham, accompagne d'une notice sur la vie et les ouvrages de Paul Delaroche par Henri Delaborde, et du catalogue raisonne de l'oeuvre par Jules GoddlE. Paris: Goupil. References to the essay are cited as Delaborde, 1858; those to the catalogue as Godde, 1858. 4. Ziff, N. D. 1977. Paul Delaroche: a study in nineteenth-century French history painting. New York and London: Garland Publishing, Inc. 5. Boime, 1980. Op. cit., 40-41, 52-60, 70-75. Kirby and Roy 173
6. Foissy-Aufrere, M.-P 1983. La jeartlle d'Arc de Paul Delaroche, Salon de 1824: dossier d'une oeuvre. Rouen: Musee des Beaux-Arts, 82-87. 7. Hauptman, W 1985. Delaroche's and Gleyre's teaching ateliers and their group portraits. Studies in the History of Art (18) :79-82, 89-97. 8. Delecluze, E.-J. 1834. Salon de 1834 (2nd article). joumal des debats, politiques et litteraires 5 March 1834. 9. Paris Salon de 1834. Explication des ouvrages de peinture, sculpture, architecture, gravure et lithographie des artistes vivalls exposes au Musee Royal Ie 1" mars, 1834. Paris: Vinchon. Facsim.ile edition, 1977. New York and London: Garland Publishing Inc., 52 (no. 503). 10. Ziff, op cit., 126-35. 11. Ganz, P 1950. The Paintings of Ha1/5 Holbeill. London: Phaidon, 251 (no. 107) and plate 148. 12. Mirecourt, E. de, [C-J.-B.Jacquot]. 1871. Histoire co/I.temporaine: portraits et silhouettes au XIX" siMe. 119. Delaroche, Decamps. 3rd ed. Paris: Librairie des contemporains, 16-17. 13. Planche, G. 1855. Salon de 1834. In Etudes sur I 'ecole franfaise (1831-1852), peinture et sculpture. Paris: Michel Levy Freres, Vol. 1, 241. 14. Boime, 1980. Op. cit., 56. 15. Armitage, E. 1883. Lectures on painting, delivered to the students of the Royal Academy. London: Tri.ibner & Co., 254-56. 16. Gould, C 1975. Delaroche and Gautier: Gautier's views on the ((Execution of Lady jane Grey" and on other compositions by Delaroche. Leaflet accompanying the exhibition of the restored painting. London: Trustees of the National Gallery, Publications Department. 17. Alley, R. 1959. Tate Gallery catalogues. The fo reign paintings, drawings and sculpture. London: Trustees of the Tate Gallery, 298. 18. Examination of the paint cross sections and pigments was carried out by Ashok Roy using optical mjcroscopy, scanning electron microscopy coupled with energy-dispersive X-ray analysis, and X-ray diffraction. Identification of the paint media by gas chromatography mass spectrometry was performed by Raymond White. Identification of lake pigment dyestuffs by high performance liquid chromatography was carried out by Jo Kirby. The conservation treatment is described in the National Gallery conservation records. 19. Boime, 1971. Op. cit., 22-47. 20. Bouvier, P-L. 1832. Manuel des jeunes artistes et amateurs en peinture. 2nd ed. Paris: F. G. Levrault. 21. Paillot de Montabert,J.-N. 1829. Traite complet de la peinture. Paris: Bossange pere, Vol. 9, 36-65. 22. Arsenne, L.-C 1833. Manuel du peintre et du sculpteur [etc.]. Paris: Librairie encyclopedique de Roret, Vol. 2, 195-413. 23. For example, Godde states that the ebauche of Straffo rd (1835, location unknown) was painted by Henri Delaborde from Delaroche's watercolor sketch and a wax model. Godde, 1858. Op. cit. (note 3), plate 19 and commentary. 24. Ingamells,J. 1986. The Wallace Collection. Catalogue of Pictures, II, French Nineteenth Century. London: Trustees of the Wallace Collection, 114 (no. P604). 25. Foissy-Aufrere, op. cit., 21-23. 26. Boime, 1971. Op. cit., 45, 102-3. 27. Godde, 1858. Op. cit. (note 3), plate 16 and commentary. 28. Ziff, N. D. 1975. Dessins de Paul Delaroche au cabinet des Dessins du musee du Louvre. La Revue du Louvre et des Musees de France, XXV: 163-68. A further donation of drawings was made to the Louvre in 1982. 29. Etude pour la 'Jane Gray" [sic], 1727RF. Pencil and red chalk, 23. 1 X 20 cm. See Guiffrey, J., and P Marcel. 1910. Inventaire general des dessins du Musee du Louvre et du Musee de Versailles. Ecole franfaise. Paris: Librairie centrale d'art et d'architecture. Vol. 5, 2-3 (no. 3535). 30. Delaborde and Godde, op. cit., 15, plate 14 and conU11entary. 31. Paillot de Montabert, op. cit., vol. 9, 144-47. 32. Bouvier, op. cit., 236-37. 33. Couture, T. 1879. Conversations on Art Methods lMetlLOde et entretiens d'atelierJ. (French edition, 1867). New York: G. P Putnam's Sons, 7. 34. Delaborde, op. cit., 18. 35. Armitage, op. cit., 79. 36. Boime, 197 1. Op. cit., 36-41. 37. Bouvier, op. cit., 207-74. 174 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
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Figure 3. Andrea Mantegl1a, The Pre
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Abstract In September 1992 the J Pa
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arrow in Adonis's right hand ends a
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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 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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