Historical Painting Techniques, Materials, and Studio Practice

Recommendations

Info

Plate 30. Cross section from Baptism, near an edge: layer 1 (at the bottom), intermediate white layer, here thicker; layer 2, pink layer with madderlike particles; layer 3 (on top), white with natural ultramarine. Photograph by]. R. J. van Asperen de Boer. Plate 31. Paint cross section, light green Jo liage, upper part oj central trees. Workshop oj Jan Bruegel, Noah's Ark. Layers Jrom bottom: (1) chalk ground; (2) imprimatura: red and black in a translucent medium; (3) sky: white lead, pale smalt, black; (4) Joliage underpaint: azurite, earth, white lead, black. Magnifrcation on 35 mmfilm: X64. Plate 32. Paint cross section (dark sky at upper edge) from Esaias van de Velde's Winter Landscape. Layers Jrom bottom: (1) ground: chalk with white lead, earth, and black; (2) sky: white lead, smalt, and earth black; (3) darker sky: smalt and white lead; (4) overpaint. Magnifrcation on 35 mm film: X70.
Plate 33. Paul Delaroehe, The Execution of Lady Jane Grey, 1833. Canvas, 246 X 29 7 em. London, National Callery (1909).
Page 2: Historical Painting Techniques, Mat
Page 5 and 6: Contents vii viii Foreword Preface
Page 7 and 8: Foreword One of the first events or
Page 9 and 10: The discussions in this volume pres
Page 11 and 12: Plate 2a, above right. Attributed t
Page 13 and 14: Plate 4a, above. Jacques Louis Da
Page 15 and 16: Plate 7a, above. Valerio Mariana da
Page 17 and 18: Plate 9. Marco Palmezzano, Mystic M
Page 19 and 20: Plate 13, right. Surya in his Chari
Page 21 and 22: Plate 16. The Fifth King of Shambha
Page 23 and 24: Plate 20. Cross section oj Sample 3
Page 25 and 26: Plate 26, top. Titian, Venus and Ad
Page 27: Plate 29. Cross sections of the St.
Page 31 and 32: Plate 35, right. Detail Jrom the lo
Page 34 and 35: Abstract This paper argues for an i
Page 36 and 37: we find a description of the affini
Page 38 and 39: 2. A Practical Treatise on Painting
Page 40 and 41: knowledge and understanding of the
Page 42 and 43: Table 1. Scientific methods used Jo
Page 44 and 45: the painting together, share backgr
Page 46 and 47: y distance with "the aid of the air
Page 48 and 49: ected, shadows would appear matte a
Page 50 and 51: The differences in saturation, clea
Page 52 and 53: 19. White, R. Personal communicatio
Page 54 and 55: occupation agreable pour charmer l'
Page 56 and 57: DE PEJN'FURE PRATIQUE. Par demit::
Page 58 and 59: In spite of the laments of certain
Page 60 and 61: While cooking their eggs, two young
Page 62 and 63: some used for painting (i.e., amber
Page 64 and 65: ange of artists' materials, books o
Page 66 and 67: Figure 3. Personal account book, 18
Page 68 and 69: paper resulted in a volume of corre
Page 70 and 71: 4. HKI MS 865-1993, 497. The move i
Page 72 and 73: [1] How to make a gold ground. Take
Page 74 and 75: into a glass, and put in a bit of w
Page 76 and 77: [37] To make crude verzino for writ
Page 78 and 79:
it on what you are working, with a
Page 80 and 81:
28. On these "clothlet colors," see
Page 82 and 83:
it also includes instructions fo r
Page 84 and 85:
Ricordi di belli colori Initially i
Page 86 and 87:
Figure 4. Gherardo Cibo, "Fusaina [
Page 88 and 89:
The treatise is typical for the lat
Page 90 and 91:
Filza CXLIII, fols. 1122r, 1125v, 1
Page 92 and 93:
that is, plaster of Paris, which ha
Page 94 and 95:
100 80 60 40 a 3500 30.00 2500 2000
Page 96 and 97:
process described by Cennini for ge
Page 98 and 99:
Abstract The frequent use of verdig
Page 100 and 101:
strating that spreading this glaze
Page 102 and 103:
10. Thompson, op. cit., 61. 11. Ber
Page 104 and 105:
Tingry, in 1830, gives a recipe for
Page 106 and 107:
elonged to William Mallord Turner (
Page 108 and 109:
500 450 As Ph As 400 350 Fe Co 300
Page 110 and 111:
19. Merrifield, op. cit., 745-6. 20
Page 112 and 113:
Table 1. Tibetan color names, trans
Page 114 and 115:
J Figure 3. Three-dimensional spect
Page 116 and 117:
Figure 5. Detail IR-reflectogram fr
Page 118 and 119:
Abstract Icons preserved in the Nil
Page 120 and 121:
I )--------------------------1 I i
Page 122 and 123:
The understanding of an icon and it
Page 124 and 125:
Abstract As part of a five-year sys
Page 126 and 127:
later transferred to an artificial
Page 128 and 129:
Winchester Cathedral Holy Sepulchre
Page 130 and 131:
Gilding. Gold leaf was applied for
Page 132 and 133:
Winchester Cathedral Holy Sepulchre
Page 134 and 135:
scanning electron microscopy I ener
Page 136 and 137:
Notes 1. Park, D. 1983. The wall pa
Page 138 and 139:
Abstract It is rare for ancient ext
Page 140 and 141:
Sa. Location : Salisbury west front
Page 142 and 143:
sheltered eye on the southernmost c
Page 144 and 145:
Abstract Extensive examination of A
Page 146 and 147:
create surface gloss and could be v
Page 148 and 149:
Figure 3. Andrea Mantegl1a, The Pre
Page 150 and 151:
Abstract In September 1992 the J Pa
Page 152 and 153:
arrow in Adonis's right hand ends a
Page 154 and 155:
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 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 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
show all

Historical Painting Techniques, Materials, and Studio Practice

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?