Historical Painting Techniques, Materials, and Studio Practice

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8. It is not clear when people first started keeping prepared paint in small pouches made of pig's bladder. The pouches are occasionally illustrated in eighteenthcentury sources. According to R. G. Gettens and G. L. Stout (1942. Painting Materials: A Short Encyclopedia. New York, 318), the tube came into widespread use around 1840. 9. A description of the evolution of the palette can be fo und in Gettens and Stout, op. cit. (note 8), 299-304. 10. Colyn de Coter, St. Luke Painting the Madonna, Vievre, Alliers (near Moulins), ca. 1490; de Meester van het Augustiner Altaar, St. Luke Painting the Madonna, Germanisches Nationalmuseum Niirnberg, 1487; Nicolaus Manuel Deutsch, St. Luke Painting the Madonna, Bern Kunstmuseum, 1514-1515; Unknown Flemish Master, St. Luke Painting the Madonna, the Grimani Brevarium, fol. 781 v, Bibliotheca Marciana, Venice. 11. Hinrik Bornemann, St. Luke Painting the Madonna, Hamburg, Jakobikerk, 1499; School of Quinten Massys, St. Luke Painting the Madonna, National Gallery, London; Derick Baegert, St. Luke Painting the Madonna, Landesmuseum, Munster, 1490. Belonging to the same category of palette are: Jacob Cornelisz van Oostzanen, Self Portrait of the Artist Working on a Portrait of his Wife, Museum of Art, Toledo, ca. 1530; Catharina van Hemessen, Self Portrait, Offentliche Kunstsammlung Basel, ca. 1548. 12. Pierre Lebrun, Recueil des essaies des merveilles de la Peinture. In Original Treatises on the Art of Painting, Vol. II. 1967. Ed. M. P. Merrifield. New York, 770- 71. 13. Quellen fur Maltechnik wahrend der Renaissance und deren Folgezeit (XVI-XVII Jahrhundert), Vol. IV 1901. Ed. E. Berger. Munich, 288-89. 14. Beurs, W 1698. De Groote Waereld in het Kleen geschildert. Amsterdam. 15. Beurs, op. cit., 165-66. 16. Beurs, op. cit., 184-87. 17. Beurs, op. cit., 186. 18. This standardization of the working properties of various colors of paint is achieved by the addition of fillers such as bentonites or aluminium hydrates, or by the use of alternative pigments. Naples yellow, for example, is substituted by a mixture of titanium white and cadmium yellow. 19. See for example the specifications given for the various pigments in a section about oil paint in De volmaakte Verwer, 1770. Amsterdam, appendix. 20. van de Wetering, E. 1977. De jonge Rembrandt aan het werk. In Oud Holland 91:7-65, especially 20-2. See also van de Wetering, E. 1982. In A corpus of Rembrandt Paintings, Vol. I. J. Bruyn, B. Haak, S. H. Levie, P .J. J. van Thiel, E. van de Wetering. Den Haag, 25-31. 21. Ainsworth, M. W et al. 1982. Art and Autoradiography: Insights into the Genesis if Paintings by Rembrandt, Van Dijck and Vermeer, New York. For activities in the autoradiographic area by the Gemalde-Galerie and the Hahn-Meitner-Instituut fUr Kernforschung in Berlin, see MaltechniklRestauro I (1987):21 et seq. 22. Taylor, P. 1992. Harmony and Illusion in Golden Age Dutch Art Theory: The Concept of Houding. In Journal if Warburg and Courtauld Institutes. (LV) :210-32. 23. Stumpel, J. 1990. The Province of Painting. Theories if Italian Renaissance Art. Utrecht, 131-174 (also published in: Simiolus 1989, 19 [3/4]:219-43). 24. Goeree, W 1670. Inleyding tot d'Algemeene Teykenkonst. (First printing, 1668.) Middelburg, 219-43. 25. c.f. the article by C. M. Groen in the still unpublished publication in connection with the restoration of the late Rembrandts in the Rijksmuseum, Amsterdam. 26. "Je mene comprenez un peu, toute ma toile a la fois, d'ensemble." Gasquet, J. 1926. Cezanne. Paris, 89. van de Wetering 203
Index of Contributors J. R. J. van Asperen de Boer, 135 Sylvana Barrett, 6 Ulrich Birkmaier, 117 Barbara H. Berrie, 127 Leslie A. Carlyle, 1 Dace Choldere, 155 Josephine A. Darrah, 70 Kate I. DufiY, 78 Jacki A. Elgar, 78 Molly Faries, 135 Beate Federspiel, 58 John R. Gayer, 191 E. Melanie Gifford, 140 Helen Glanville, 12 Stephen Hackney, 186 Erma Hermens, 48 Helen C. Howard, 91 Melissa R. Katz, 158 Jo Kirby, 166 Ann Massing, 20 Catherine A. Metzger, 127 Ilze Poriete, 155 Andrea Rothe, 111, 117 Ashok Roy, 166 Zuzana Skalova, 85 Eddie Sinclair, 105 Christa Steinbiichel, 135 Dusan C. Stulik, 6 Joyce H. Townsend, 176 J0rgen adum, 148 Arie allert, 38, 117 Ernst van de etering, 196 Sally A. 00dcock, 30 Renate oudhuysen-Keller, 65 204 Index oj Contributors
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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
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Figure 5. Infrared photograph of Es
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at the beginning of the seventeenth
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artist like Vermeer had to use all
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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 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 238 and 239: Errata for Historical Painting Tech
Page 240: PAGE 159 Figure 2. Image source: Pe
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