Historical Painting Techniques, Materials, and Studio Practice

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PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv
Contents vii viii Foreword Preface 1 Leslie A. Carlyle, Beyond a Collection of Data: What We Can Learn from Documentary Sources on Artists' Materials and Techniques 6 Sylvana Barrett, Dusan C. Stulik, An Integrated Approach for the Study of Painting Techniques 12 Helen Glanville, Varnish, Grounds, Viewing Distance, and Lighting: Some Notes on Seventeenth-Century Italian Painting Technique 20 Ann Massing, From Books of Secrets to Encylopedias: Painting Techniques in France between 1600 and 1800 30 Sally A. Woodcock, The Roberson Archive: Content and Significance 38 Arie Wallert, Libro Secondo de Diversi Colori e Sise da Mettere a Oro: A Fifteenth-Century Technical Treatise on ManUSCript Illumination 48 Erma Hermens, A Seventeenth-Century Italian Treatise on Miniature Painting and Its Author(s) 58 Beate Federspiel, Questions about Medieval Gesso Grounds 65 Renate Woudhuysen-Keller, Aspects of Painting Technique in the Use of Verdigris and Copper Resinate 70 Josephine A. Darrah, Connections and Coincidences: Three Pigments 78 Kate I. Duffy, Jacki A. Elgar, An Investigation of Palette and Color Notations Used to Create a Set of Tibetan Thangkas 85 Zuzana Skalova, New Evidence for the Medieval Production of Icons in the Nile Valley 91 Helen C. Howard, Techniques of the Romanesque and Gothic Wall Paintings in the Holy Sepulchre Chapel, Winchester Cathedral 105 Eddie Sinclair, The Polychromy of Exeter and Salisbury Cathedrals: A Preliminary Comparison 111 Andrea Rothe, Andrea Mantegna's Adoration of the Magi 117 Ulrich Birkmaier, Arie Wallert, Andrea Rothe, Technical Examinations of Titian's Venus and Adonis: A Note on Early Italian Oil Painting Technique 127 Catherine A. Metzger, Barbara H. Berrie, Gerard David's St. Anne Altarpiece: Evidence for Workshop Participation v
Page 2: Historical Painting Techniques, Mat
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 and 28: Plate 29. Cross sections of the St.
Page 29 and 30: Plate 33. Paul Delaroehe, The Execu
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
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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
Page 96 and 97:
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
Page 106 and 107:
elonged to William Mallord Turner (
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500 450 As Ph As 400 350 Fe Co 300
Page 110 and 111:
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
Page 118 and 119:
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
Page 128 and 129:
Winchester Cathedral Holy Sepulchre
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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
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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
Page 144 and 145:
Abstract Extensive examination of A
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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
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Figure 5. Irifrared niflectogram as
Page 166 and 167:
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
Page 174 and 175:
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
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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
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the product, a salesman motivated b
Page 194 and 195:
complaints, have been strictly adhe
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F(gure 8. Illfrared rriflectograph
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13. Hunt, W. H. 1905-1 906. Pre-Rap
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Figure 1. The Execution of Lady Jan
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Figure 3. The Execution of Lady Jan
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Figure 5. Detail of Lady Jal1e Grey
Page 206 and 207:
Figure 6. Paul Delaroche, The Execu
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38. Merimee,J.-F.-L. 1830. De la pe
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F(gure 1. J. M. W. Turner, Goring M
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Figl/re 3. Detail if lower left, s/
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Figure 5. J. M. W. Tumer's The Dawn
Page 216 and 217:
TabLe 1. Dates of manufa cture of i
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Kennedy of the Ulster Museum, Viola
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Figure 2. James Whistler, Nocturne
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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
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Figure 1. Jan Baptiste Collaert, Co
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sudden increase in the dimensions o
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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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