Historical Painting Techniques, Materials, and Studio Practice

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2. Eder, ]. M. 1945. History of Photography. New York: Columbia University Press, 791, note 4. 3. Coe, B., and M. Haworth-Booth. 1983. A Guide to Early Photographic Processes. London: Hurtwood Press, 19. 4. Gernsheim, H., and A. Gernsheim. 1969. The History of Photography. London: Thames and Hudson, 315. 5. Joe,]. 1894. Coloring photographs. Scientijic American 71 (11):163. 6. Scientijic American. 1895. Coloring photographs. Scientijic American 73 (1):27. 7. Scientijic American. 1899. Coloring bromide prints. Scientijic American 81 (21):323. 8. Godbold, A. V 1919. A wax medium for the permanent coloring of photographs. Scientijic American Supplement 87 (2248):74-75. 9. Tobias, ]. C. 1934. The art of coloring photographic prints in transparent water-color, tempera, opaque and transparent pastel, wax crayons, opaque and transparent oils, chemical coloring, and coloring lantern slides. Boston: American Photographic Publishing Co., 54, 57-58, 60-61. 10. Johnson, R. 1936. The art of retouching photographic negatives and photographic enlargements, etc. Revised and rewritten by T. S. Bruce and A. Braithwaite, 13th ed. (2nd American, revised and enlarged by A. Hammond. Boston: American Photographic Publishing Co., 143, 148-150, 152. 11. Duryea, D. 1936. Notes on murals by photography. Architectural Record 80 (1):57- 58, 60, 62. 12. Architectural Review. 1937. The true photo-mural: a new technique of decoration. Architectural Review 81 (February) :86-87. 13. Perry, H. W 1940. Photography speeds up aircraft production. American Photography 34 (12): 886, 888. 14. Progressive Architecture. 1946. Photographic emulsion makes any base possible. Progressive Architecture 27 (110):110. 15. Duryea, op. cit., 60. 16. Hochman, L. 1947. Print your photos anywhere. Popular Science 150 Oune):196. 17. Corbino, M. 1986. James Couper. American Artist 50 (529):66, 68-69, 84-86. 18. Patton, P. 1976. Super realism: a critical anthology. Arifo rum 14 (5):52. 19. Chase, L., N. Foote, and T. McBurnett. 1972. The Photo-Realists: twelve interviews. Art in America 60 (6):73-89. 20. Wade, K. E. 1976. Alternative Photographic Processes. Dobbs Ferry, New York: Morgan and Morgan, Inc. 21. Howell-Koehler, N. 1980. Photo Art Processes. Worcester, Massachusetts: Davis Publications, Inc. 22. Eastman Kodak Co. 1982. Photographic sensitizer for cloth and paper. Photo information bulletin PIB-6. December 1982. 23. Eastman Kodak Co. 1983. Making a photographic emulsion. Photo information bulletin PIB-7. February 1983. 24. Hegenbart, W 1994. Personal communication. Division Manager, Finishing Europe, Tetenal Vertriebs GmbH, Norderstedt, Germany. 25. Luminos Photo Corp. 1991. B & W Products fo r the Professional. Yonkers, New York 10705. 26. Hegenbart, op. cit. 27. Cone, R. 1993. Personal communication. Rockland Colloid Corp., Piermont, New York 10968. 28. Wells, L. 1991. Personal communication. New York, New York. 29. Fuchs, R. H. 1989. Arnulf Rainer. Vienna: ARGE Gabriele Wimmer & John Sailer, 147-48. 30. Gagnier, R. 1991. Personal communication. Conservator of Contemporary Art, National Gallery of Canada, Ottawa. 31. Monk, P. 1987. Shirley Wiitasalo. Toronto: Art Gallery of Ontario, 13-14. 32. Vaughan, K. 1993. Personal communication. Toronto, Ontario. 33. Winter, P. 1989. Manipulieren, ironisieren, maltratieren: Das Foto unter der Hand des Kiinstlers. Kunstwerk 42 (March): 11. 34. Penn, S. P. 1993. Personal communication. Associate Conservator of Paintings, Philadelphia Museum of Art, Philadelphia, Pennsylvania 19101. 35. Cotter, H. 1990. Fariba Hajamadi at Christine Burgin. Art in America 78 (7):169. 36. Hajamadi, F. 1991. Personal communication. New York, New York. 37. Adcock, C. 1990. James Turrell: The Art if Light and Space. Berkeley and Los Angeles: University of California Press, 187-96. 38. Turrell,]. 1993. Personal communication. Flagstaff, Arizona. Gayer 195
Abstract It is argued here that painters of the Baroque adhered to the die-hard tradition of loading their palettes with a limited number of tints, suitable only for painting the passage they planned to finish in that stage of the work. Support for this proposition comes from various directions: written sources, studio representations, and scientific research generated by different methods. An example of a specific studio practice is used to demonstrate the much discussed interrelation of technique and style. Reflections on the Relation between Te chnique and Style: The Use of the Palette by the Seventeenth-Century Painter Ernst van de Wetering Kunsthistorisch Instituut Herengracht 286 1016 BX Amsterdam The Netherlands Introduction In the Vitae, as is widely known, Giorgio Vasari attempted to describe the development of Italian art from Giotto onward as a process of continuous progress culminating in the work of Michelangelo. The idea that art changes because better solutions appear was certainly not restricted to Vasari. While stylistic developments in Western art were viewed as a matter of progress, it was inevitable that the characteristics of earlier styles would be explained in relation to problems that had meanwhile been solved. This could apply to the invention of perspective and to the invention of oil painting-which, according to Vasari, "softens and sweetens the colors and renders them more delicate and more easily blended than do the other mediums" (1). Finally, the development of style can be applied within oil painting to the development of the technique fo r achieving a "'glowing" incarnate, as Karel van Mander termed it, by means of an underpainting in vermilion that "glows more fleshy" (2). Viewed thus, there can be said to exist a clear relation between style and technique. During the nineteenth century, however, this was a hotly debated issue among art theorists. Some of these, especially writers on architecture such as Gottfried Semper (1803-1 879) and Viol1et-le-Duc (1814-1 879), aimed to demonstrate a fu ndamental interrelation of style and technique in the arts (3). Twentieth-century developments, such as the theories underlying the Bauhaus, continued to build on the same ideas. Not everyone agrees that style and technique are interrelated. A parallel stream of art history adheres to the idea, current since the Romantic period, that every fo rm of art had its own fo rmal legitimacy. In this way of thinking, it was not necessary to explain styles in terms of technical limitations and possibilities. This line of thought culminated in the concept of Kunstwollen, originated by Alois Riegl (1858-1 905), which was seen as the manifestation of an "urge to fo rm," independent of the restrictive influence of such factors as function, materials, and technique. All the same, Riegl did not deny the influence of technique. He believed, however, that Kunstwollen overcame the technical limitations. Technical frontiers, considered by Semper to play a positive part in the creative process, constituted in Riegl's view a "coefficient of friction" within the Gesamtprodukt of Kunstwollen (4). It could be argued that Riegl's notion of Kunstwollen was partly responsible for the fact that "style" has so long remained one of the main domains of art historical research, with art historians such as Wollflin and Focillon being prominent representatives of this direction. It is worth noting here that the stylistics ofWollflin were dominated by an outlook in which the autonomous or even abstract qualities of the visual vocabulary took priority over the pictorial means employed to achieve a convincing representation of reality. Since Wollflin's times, research into artistic techniques has become more and more detached from stylistic considerations. Owing to the shift towards sci- This article was previously published, in a different form, in Oud Holland 107: 1, 1993, 137-51; and in KM, vakil'!for111atie voor beeldende Kunstenaars en res fa rato ren, Fall 1994, 28-31; reprinted, with changes, by permission of the author. 196 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
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Abstract The St. Anne Altarpiece (N
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Figure 3. Infrared reJlectogram ass
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Figure 5. Irifrared niflectogram as
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followed by modeling layers and gla
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Abstract Based on extensive informa
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o . (Vv..-.< 1 2. underdrawing, and
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The key position of Lamentation in
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Figure 1. Workshop of Jan Bruegel,
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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 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 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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