Historical Painting Techniques, Materials, and Studio Practice

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135 Molly Faries, Christa Steinbuchel, and J. R. J. van Asperen de Boer, Maarten van Heemskerck and Jan van Scorel's Haarlem Workshop 140 E. Melanie Gifford, Style and Technique in Dutch Landscape Painting in the 1620s 148 J¢rgen Wadum, Johannes Vermeer (1632-1675) and His Use of Perspective 155 Ilze Poriete, Dace Choldere, A Technical Study of the Materials and Methods Used by the Painters of the Latvian Churches in the Seventeenth Century 158 Melissa R. Katz, William Holman Hunt and the «Pre-Raphaelite Technique" 166 Jo Kirby, Ashok Roy, Paul Delaroche: A Case Study of Academic Painting 176 Joyce H. Townsend, Painting Techniques and Materials of Turner and Other British Artists 1775-1875 186 Stephen Hackney, Art for Art's Sake: The Materials and Techniques of James McNeill Whistler (1834-1903) 191 John R. Gayer, Painting on a Photographic Substrate: Notes Regarding Materials and Techniques over the Past 100 Years 196 Ernst van de Wetering, Reflections on the Relation between Technique and Style: The Use of the Palette by the Seventeenth Century Painter 204 Index of Contributors vi
Foreword One of the first events organized by the Getty Conservation Institute as it began its activities about ten years ago was a symposium on paintings conservation. We felt at that time that our particular approach, based on multiple disciplines looking at a single problem, could contribute significantly to the field of conservation. Over the course of the past years we have continued to develop in that direction and with that belief, so it is particularly appropriate to see these important preprints come to light for the University of Leiden's symposium. The history of painting techniques is by nature a multidiSCiplinary area of study, combining research in science, conservation, and art history as well as specific expertise in paintings. Members of each one of these professions bring to the area their own detailed knowledge in artists' materials, techniques, or methods, whether it be information specific to pigments, binding media, signature style, or archival research. The field of history of painting techniques has been evolving very rapidly in recent years and opening enormous opportunities for further research and connOisseurship, as this important group of papers demonstrates. Not only scientific methods of examination but also bibliographical and archival research are making significant contributions. The authors of these preprints bring a wide array of expert knowledge as well as many fresh points of view that are certain to provoke serious questions and debate. The editors-Arie Wallert, Erma Hermens, and Marja Peek-have assembled this volume with a most inSightful approach and focus. So it is with a great deal of satisfaction and pleasure that we present these papers for the study, and enjoyment, of a fascinating and challenging field. Miguel Angel Corzo, Director The Getty Conservation Institute vii
Page 2: Historical Painting Techniques, Mat
Page 5: Contents vii viii Foreword Preface
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
Page 74 and 75:
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
Page 80 and 81:
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
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
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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
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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
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
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I )--------------------------1 I i
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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
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Gilding. Gold leaf was applied for
Page 132 and 133:
Winchester Cathedral Holy Sepulchre
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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
Page 140 and 141:
Sa. Location : Salisbury west front
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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
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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/
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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
Page 218 and 219:
Kennedy of the Ulster Museum, Viola
Page 220 and 221:
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
Page 230 and 231:
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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