Historical Painting Techniques, Materials, and Studio Practice

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19. White, R. Personal communication. National Gallery, London. I am indebted to Raymond White for much enlightening discussion around the subject. 20. Symonds, op.cit., fol. 10. "To make imprimatura wich shall stand abroad in ye ayre, tis best to use olio Cotto. Also tis good dare una mano di gesso prima / poi oglio suopra." 21. Groen, K. 1988. Scanning electron microscopy as an aid in the study of blanching. Hamilton Kerr Institute Bulletin 1 :48-65. 22. Burnstock, A. An examination of blanching in the green paints from a selection of seventeenth-century French School paintings. Ph.D. diss. Courtauld Institute of Art, London. 23. Groen, op. cit. 24. Lebrun, P. 1635. Recueuil des essaies des merveilles de la peinture. In Merrifield, M. p. 1849. Original Treatises on the Arts of Painting. Vol. II. London:John Murray, 759-841. On page 821: "To prime a canvas quickly, so that a person may paint on it the same day that it has been primed, you must grind together some parchment glue and oil priming, and immediately prime the canvas with this; it will harden directly, but the priming is apt to scale off when the canvas is rolled up." 25. Malvasia. 1646. Vite di Pittori Bolognesi. Unpublished addenda. In Sce/te di curiosita letterarie, inedite 0 rare dal XIII al XIX, ed. Adriana Arfelli. Speaking of Guercino's Circumcision in the Chiesa delle Monache di Gesu Maria in Bologna which was executed overnight: "La sua formidabil velocita nell'operare, e alla prima bozzando, e fmendo nello stesso tempo." 26. For instance, Caravaggio's Salome with the Head of St. John the Baptist (National Gallery London) and Mattia Pretis's The Beheading of St. John the Baptist (National Gallery of Ireland, Dublin). 27. Felibien, op. cit., Entretien VIII, 401. "[L]a diminution des teintes ... autant par la qualite que par la force des couleurs." 28. Either an optical effect due to the pronounced lithargeage of the ground or the inherent matte appearance of the varnish itself. 29. Boschini, op. cit., 295. "Credela che se goda la Pitura / Piu soto l'ochio, 0 in debita distanza? / Certo in distanza debita: perche / Quando have messi i quadri, e situdi / In l'altezza de iluoghi destinadi, / Non e rason, che la ve rampeghe." 30. This was the case during the examination of Gainsborough's The Linley Sisters in the Dulwich Picture Gallery. Gainsborough had painted the portrait with the light coming from the left through holes he had drilled in his shutters! See Glanville, H. 1988. Gainsborough: Artist or Artisan? (original unedited version). In A Nest of Nightingales, s.l. exhibition catalogue. 31. Biography of Ludovico Cardi, in Cardi, G. B. 1628. II Cigoli. Florence, 19. "[M]olto piu ammirabil si rendeva in quella stanza dove fu lavorata, la qual per una picciol finestra ricevendo poco lume era appunto proporzionato et alla maniera et a quello che nella storia si rappresentava; et avendola ivi veduta piu volte, e, rivedendola poi all' aria aperta, diceva fra se: questa non e quella, sebbene quivi ancora lodata da tutti." 32. Bellori, op. cit. Vita di Luca Giordano, 51. "[E]ssendo il tutto condotto con grossi trattizzi ne' contorni, e cosi anche il Cristo, benche sia alquanto piu terminato, come figura principale del soggetto, ne! cui panno azzurro si veggono chiari terribili di biacca imbrattata di carnatura, con tratti di pennello piu grossi, il quale unisce ed accorda tanto bene con la distanza dell'occhio, che fa comprendere quanto sia grande la maestria de! suo pennello." 33. Boschini, op. cit., 339. "[L]a prontezza ... impastar figure in copia, e senza natural. ..." 34. Boschini, op. cit., 339. ''L'e que! unir quel fresco con quel seco / Che in sto operar si belo importa tanto." 35. Boschini, op. cit., 294. "Perche se se vardasse al color solo, / EI piu vago sarave anche il piu belo / Ma varvandose el trato del pene!o / Casca sta consequentia a rompicolo." 36. Boschini, op. cit., 290. "[L]'ochio no'vede altro, che'l guanto." Glanville 19
Abstract French publications on painting materials and techniques before 1800 include books of "secrets," treatises written by artists themselves or about their practice, articles from learned journals, dictionaries, and encyclopedias. The traditional methods of painting listed in these publications include dhrempe (a reference to a water-based media, which can be glue, gum, or egg tempera), fresco, miniature, and oil painting, enamel and glass painting, as well as painting on porcelain. Some of the more unusual techniques are outlined: encaustic, eludoric, and glass painting, including glass transfer techniques, and finally a satirical contribution, "peinture en fromage ou en ramequm." From. Books of Secrets to Encyclopedias: Painting Te chniques in France between 1600 and 1800 Ann Massing Hamilton Kerr Institute Whittlesford Cambridge CB2 4NE United Kingdom Introduction Until the mid-seventeenth century, the business of painting in France was strictly regulated by guilds. The skills of the painting craft, handed down from master to apprentice, were treated as valuable personal possessions and protected by secrecy (1). Few records of the painting techniques themselves were published before the mid-eighteenth century. The first information contributing to the history of painting materials and techniques in the French language is found in books of "secrets," collections of recipes on various topics, often compiled from diverse authors. The "secrets" of the earliest such books were not contemporary recipes, however, but translations from Italian or Latin, often with reference to ancient Greek or Roman authors. Books of secrets The first of the books of "secrets," Les secrets de reverend Alexis Piemontois (Paris, 1557) was a compilation, translated from the Italian, that included remedies for illness, wounds, and accidents, as well as instructions on how to make perfumes,jams, dyes, and pigments. The book was reprinted in 1573 and was expanded to include recipes from Dioscorides, Galen, and others, as well as some recipes relating to the history of painting techniques such as gilding, pigments, inks, and the making of varnishes. It was republished several times during the sixteenth and seventeenth centuries, as were other secret books, such as Les secrets et merveilles de nature (Lyon, 1586) by Jean Jacques Wecker, a doctor from Colmar. Wecker's recipes fo r magic and sorcery, health, cooking, beauty, and the manufacture of pigments, "des secrets des falseurs et vendeurs de couleurs et peintures," were also taken from Latin sources; he credits seventy-five authors from Aristotle onward. Fortunately, the book includes a table of contents, fo r the recipes are not arranged alphabetically but in a systematic order that reflects Wecker's vision of the universe and places painter's secrets on the same level as recipes fo r cooks, druggists, carpenters, and Jomers. Several books of secrets were published in the seventeenth century, but perhaps the most popular and the most relevant to our topic was Le Sieur D'Emery's Recueil des curiositez rares et nouvelles des plus admirables iff ets de la nature ret de l'art] (Paris, 1674) (2). Included were many recipes related to the history of painting techniques, recipes on how to copy drawings, make pastels, imitate marble, stain wood, gild, and make engravings look like old master paintings. Books of secrets continued to be written and reprinted throughout the eighteenth century and beyond. In the eighteenth century, the two compilations most frequently reissued were Secrets des arts et metiers (Brussels, 1755) and L' Albert moderne ou nouveau secrets eprouves et licites (Paris, 1768). This "modern" Albert was a revision of "old" Albertus Magnus, with the superstitions and enchantments deleted, keeping only "useful" advice, such as how to cure a toothache with two live moles. (The method begins by holding a mole in each hand and squeezing gently, without letting go, until they die; this process should take about five hours.) Large sections are devoted to medical and agricultural recipes; the third section includes "divers moyens de se faire une 20 Historical Painting Techniques, Materials, and Studio Practice
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 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 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
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