Historical Painting Techniques, Materials, and Studio Practice

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38. Merimee,J.-F.-L. 1830. De la peinture a I'lwile [etc.]. Paris: Mme. Huzard (facsimjle reprint, Puteaux: Erec, 1981), 70-71. 39. Paillot de Montabert, op. cit., 258-71; see also Merimee, op. cit., 144-65. 40. Bomford, D., J. Kirby, J. Leighton, and A. Roy. 1990. Art in the Making: Impressionism, London: National Gallery and New Haven: Yale University Press, 117, 119. 41. Mirecourt, op. cit., 24. 42. Ingamells, op. cit., 99-100 (no. P276), 103-104 (no. P300). 43. Knight, V 1986. The Works of Art of the Corporation of London: A Catalogue of Paintings, Watercolours, Drawillgs, Prints alld Sculpture. Cambridge: Woodhead Faulkner, 72 (no. 1052). 44. Godde, op. cit. (note 3) , plate 16 and conunentary. The engraving measured 29 X 36 cm. Kirby and Roy 175
Abstract Turner's use of sketches on paper, his development of successful oil sketches into finished paintings, his preference for absorbent primings, and his modified oil media are described. His oil painting techniques circa 1800-1850 are illustrated by studies of several works. His use of megilps (varnish-modified oil media) is outlined, along with his use of newly available manufactured pigments, and is compared with analyses from other works painted by British artists 1775-1875, ranging from Reynolds to Whistler. Painting Techniques and Materials of Turner and Other British Artists 1775-1875 Joyce H. Townsend Senior Conservation Scientist Tate Gallery, Millbank London SW 1P 4RG United Kingdom Introduction This paper presents important aspects of J. M. W Turner's technique, discussed before by the author in greater detail, by examining several paintings not previously described in this context (1, 2). Turner painted in oil fo r over fifty years (ca. 1798-1850), and it is interesting to compare his materials to those used in British paintings of the preceding and fo llowing twenty-five years (in the Tate Gallery collection, unless otherwise stated). Thus, this paper presents a comparison of the use of modified paint media and the adoption by various artists of new pigments produced between 1775 and 1875. Turner's oil painting techniques, compared to others' techniques Turner spent at least ten years as a watercolorist before he used oil as a paint medium, developing a range of techniques that he would utilize ever after in oil. In the earlier watercolors, transparent washes overlie the white paper except where Turner reserved highlights. The greens were made by mixing, overlaying, or physically mixing with his fingers, washes of brown and blue. There is very little underdrawing, and generally it is free rather than detailed. The lTlental image was transferred directly to the support. As Farington wrote, "Turner has no settled process but drives the colour about till he has expressed the ideas in his mind" (3). Turner produced over 20,000 pencil sketches and watercolors, now at the Tate Gallery, but few have a direct counterpart in oil. He hardly ever produced a detailed oil sketch, even for a commission, and when he sketched in oil he developed the best sketches into completed and exhibited works, rather than repainting them on a new canvas. Turner seems to have tried nearly all materials and methods once. The following descriptions apply to many of his paintings, if not all. Once he began to work in both media (always independently) , he utilized new application techniques and pigment in both media at about the same time. His early work in watercolor gave him an understanding of and liking fo r light-toned, absorbent surfaces, and honed his skills in the application of optical greens and blacks. Some eighteenth-century artists such as Wright of Derby (4) used white grounds to lend luminosity to their oil paintings, but many of Turner's immediate contemporaries were using thicker paint and warm-toned grounds up to 1820. Constable produced oil sketches upon mid-toned buff, red, or blue grounds, though his exhibited works do not show quite such a variety of grounds (5). After 1820, more British artists tended to use white grounds. Many commercially primed canvases are white during this time and up to the 1890s, when Sargent and Whistler used gray ones of varying tones in England (6) . Turner used white primings for a fair proportion of his oils, both exhibited and unfinished, in the first decade of the nineteenth century; in later decades most of his supports had white grounds. In a fair num.ber of the paintings examined, the primings consist of lead white in whole egg medium (7), most of the others being lead white in oil, not sized on the surface or between applications of priming, as had previously been usual. Absorbent surfaces gave the impetuous Turner a very rapid indication of the final color of the paint, and allowed him to develop the composition rapidly over fastdrying paint if it looked promising. 176 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
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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 206 and 207: Figure 6. Paul Delaroche, The Execu
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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