Historical Painting Techniques, Materials, and Studio Practice
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occupation agreable pour charmer l'ennui," with recipes about liqueurs, flowers,<br />
painting secrets, <strong>and</strong> so on.<br />
Technical treatises<br />
The most widely read of the early painting manuals, judging by the number<br />
of editions, was Claude Boutet's treatise on miniature painting, published in<br />
1672, called by the author an "ABC de La mignature" (3). Following the conventions<br />
of his time, Boutet dedicated his treatise not to the specialist but to<br />
an amateur, a Mlle. Fouquet, who wished to perfect her abilities in the craft.<br />
In the introduction, Boutet claims his "secrets" came from the Italians, <strong>and</strong><br />
states that although he could have profited by keeping them to himself, he is<br />
giving away his knowledge fo r the benefit of others. He provides an extremely<br />
useful summary of French painting practice in the second half of the seventeenth<br />
century. The treatise discusses the various pigments <strong>and</strong> how to use<br />
them, based on a three-step sequence (as in oil painting of the period) : ebaucher,<br />
pointiller, <strong>and</strong> finally finir or rehauser.<br />
A seventeenth-century treatise of great importance for the history of technique<br />
is De La Fontaine's Academie de La peinture (Paris 1679), dedicated to<br />
the tutor of the future king of France (4) . He summarizes much practical<br />
detail, especially on pigment mixtures, mentioning dhrempc, fresco, pastel, grisaille,<br />
<strong>and</strong> miniature as well as oil painting. He refers to the art of perspective,<br />
which he believes a painter should know both theoretically <strong>and</strong> practically.<br />
His dependence on Italian painting is evident, <strong>and</strong> he lists the names of the<br />
Antique painters who have contributed to this knowledge (5). He also discusses<br />
the origin of painting; although several "philosophers" attributed the<br />
origin of painting to a shepherd who began to trace his shadow <strong>and</strong> saw the<br />
resemblance to the human fo rm, De La Fontaine allows that the more common<br />
opinion is that the discovery of painting was made by the Hebrews <strong>and</strong><br />
that they transmitted it to the Greeks <strong>and</strong> to the Romans. Until the late<br />
eighteenth century, it was believed that this knowledge was then "lost," to be<br />
"rediscovered" by "Jean de Bruges" Oan van Eyck) .<br />
Seventeenth-century painters thus considered oil painting a "new" method<br />
of painting, <strong>and</strong>, judging from the source books, the preparation of the medium<br />
was obviously a vexing problem. De La Fontaine suggests nut oil with<br />
lead white thickened by sunlight (6). He follows this with the recommendation<br />
that in order to dry a layer oflead white, or a grisaille layer, one should<br />
mix the white pigment with oil of turpentine, which will cause the layer to<br />
dry as the turpentine evaporates (7). This is followed by advice on how to<br />
prevent layers of drapery from running. He suggests placing the painting flat<br />
on the floor or on a table <strong>and</strong> scattering small pieces of absorbent paper onto<br />
the surface, especially onto the shadows of the drapery. When the paper has<br />
drawn out the oil, but before the paint layer has dried, one should pick up<br />
the painting <strong>and</strong> let it fall gently on one corner, so that the paper comes away<br />
(8) .<br />
Although it is not possible to go into detail about early technical practice<br />
here, I will mention briefly De La Fontaine's method of preparing supports<br />
for painting, methods used well into the eighteenth century. In the case of<br />
canvas, the material was stretched onto a loom, smoothed with a pumice<br />
stone, sized with glue, <strong>and</strong> then given a double ground, the first colored with<br />
raw umber <strong>and</strong> red brown spread on with a knife, the second with lead white<br />
<strong>and</strong> just enough carbon black to make gray. For panels, three layers of a fine<br />
chalk ground ("blanc d'Espagne, comme on Ie vend chez les Ch<strong>and</strong>eliers")<br />
was recommended, with either another layer of glue on top or a gray oil<br />
layer (9).<br />
The Acadernie Royale <strong>and</strong> the theoretical treatises<br />
Before 1800 the history of oil painting in France, <strong>and</strong> consequently the history<br />
of its technique, was dominated by Italian influence. In the sixteenth<br />
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