Historical Painting Techniques, Materials, and Studio Practice

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F(gure 1. J. M. W. Turner, Goring Mill and Church, ca. 1806-1807. Oil sketch on canvas, 857 X 1162 111111. Courtesy of the Tate Gallery, London (N02704). Some works were abandoned at this stage, for example Goring Mill and Church (ca. 1806-1807), in which the buildings were lightly drawn in pencil before washes were applied of thinned linseed oil paint in green and brown for grass, buildings, and cattle, and in highly thinned, pale blue paint to suggest the clouds (Fig. 1). Other abandoned oil paintings from this date and later have little or no pencil underdrawing. Turner used it mainly to outline buildings or ships, where accuracy mattered. By contrast, landscapes and trees were usually freely painted. In later years, Turner used increasingly brightly colored, thinned paint as a first lay-in, generally brown for the landscape and blue for the sky, leaving white priming in areas that would later be depicted as yellow sunlight. He glazed down the colors as he worked. Cross sections from most oils show thin transparent washes, overlaid by thin paint layers in the same colors, lightened with lead white. Some abandoned works have a patch of bright red or blue in the foreground, which Turner would have developed into something appropriate as the image evolved, perhaps a red buoy in the sea, or a brightly dressed figure in a landscape. Turner's earliest oils look thickly and conventionally painted at first glance or when viewed through accumulated yellow varnish, but this is deceptive. Dolbadern Castle, North Wales is a good example (Fig. 2). Turner presented it to the Royal Academy, London, when he obtained full membership at the age of twenty-eight. Recent cleaning revealed thin glazes of Mars orange (i.e., strongly colored synthetic iron oxide) and localized scumbles of black, and Mars orange or red, with white in the landscape. The surface was, in fact, vulnerable and potentially sensitive to solvents. Clouds were applied with a thicker, creamy-looking paint that retained brush marks, small areas were then scumbled over with quite bright yellows or pinks, applied rather lean. Naples yellow, reddish brown ochres, a purplish ochre, and ivory black provided these highlights, while the sky itself was painted in ultramarine, lightened with lead white. Turner continued to use ultramarine for finishing skies throughout his life, having often done the initial lay-in with smalt, though not in this case. He used Prussian blue glazes and washes over thicker layers of brown ochres and umbers for the greener parts of the landscape and the stream. The fastflowing water is indicated by small flecks of textured white paint. These may be lean strokes of paint applied in a pure oil medium. In other paintings, such areas were found to contain linseed oil but very rarely walnut oil, despite the fact that the latter was known to yellow less. It is much less likely that the Townsend 177
Figure 2. J. M. W. Tumer, Dolbadern Castle, North Wales, 1802. Oil 011 canvas, 1190 X 889 /11111. Courtesy of the Royal AcadelllY of Arts, LOlldo/l. textured clouds were painted in pure oil medium; they more resemble a megilp, a medium discussed in detail later. Many of Turner's oils are disfigured by wide contraction cracks long associated with natural bitumen or asphaltum. The paint of Dolbadern Castle is free of such defects, possibly because the subject did not require the extreme contrasts between sunny and shaded landscape that Turner achieved so effec- 178 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'
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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 208 and 209: 38. Merimee,J.-F.-L. 1830. De la pe
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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