Historical Painting Techniques, Materials, and Studio Practice

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some used for painting (i.e., amber, brazilwood and cochineal, gum arabic, indigo, saffron, sandarac, shellac, verdigris, vermilion, etc.). 18. The Royal Academy in London was founded in 1768. By that period, the exchange of information all over Europe was so rapid that translations of new methods and techniques happened very quickly. See also Carlyle, L. 1991. A critical analysis of artists' handbooks, manuals and treatises on oil painting published in Britain between 1800-1900: with reference to selected eighteenthcentury sources. PhD. diss. Courtauld Institute of Art, University of London. Also, compare early German source books, including Schiessl, U. 1989. Die deutschsprachige Literatur zu Werkstoifen und Techniken der Malerei von 1530 bis ca. 1950. Worms. 19. The layout of Diderot's great work is not alphabetical but systematic, after the division of the sciences following the scheme of Francis Bacon (1561-1626) fo r an Encyclopaedia oj Nature and Art, which was published in 1620 (the encyclopedia itself was never published). Painting is listed under two categories: philosophy and imagination. Alphabetical arrangement of the contents of an encyclopedia came into general use in the eighteenth century, and indexing was not employed until the 1830s. For fu rther information of the dramatic history of Diderot's encyclopedia, see Collison, R. 1964. Encyclopaedias: Their History throughout the Ages. London. 20. Copying from previous authors was commonplace in the seventeenth and eighteenth centuries; everyone did it, and it was unusual when a source was cited. One splendid example is the recipe for making drying oil by boiling nut oil with litharge, water, and one onion. None of the authors really believed in the efficacy of the onion, but dutifully copied it nonetheless. See Pernety, D. A,-J. 1757. Dictionnaire portatif de peinture, sculpture et gravure. Paris, Ixxxvii-Ixxxviii. Pernety copied the recipe from La Hire (La Hire, op. cit., 708): "II y en a qui font cuire avec l'huile un oignon coupe en plusieurs morceaux pour la degraisser & pour la rendre plus coulante & moins gluante, a ce qu'ils pretendent." De Piles copied it again with similar doubts and suggested using a piece of bread instead (De Piles. 1776. Elemens de peinture pratique. Charles-Antoine Jombert, 141-42). 21. Lacombe, J. 1752. Dictionnaire portatif des beaux-arts. Paris. See also Macquer, p. J. 1766-1767. Dictiormaire portatif des arts et metiers. Paris. For information on the many dictionairies published in the later half of the eighteenth century, see Massing's 1990 bibliography (available from the author). 22. Pernety, op. cit. (note 20), iii-iv. 23. Several authors refer to the imperfections of the oil medium. De Piles. 1766, op. cit. (note 20), 97-98. De Piles writes of the deterioration of oil painting, "Cette espece de peinture est moderne en comparison des autres . ... II n'y a pas de donte qu'elle seroit la plus parfaite de toutes les manieres de peindre, si les couleurs ne se ternissoient point par la suite des tems; mais elles brunissent toujours de plus en plus & tirent sur un jaune brun, ce qui vient de I'huile avec laquelle to utes les couleurs sont broyees & incorporees." 24. Caylus, M. Ie Comte de, and M. Majault. 1755. Memoire sur la peinture a l'encaustique et sur la peinture a la eire. Geneva and Paris. 25. Eighteenth-century authors such as the Count of Caylus believed that the Ancient Greek painters used an encaustic painting technique. The wax was "fixed" to the wooden support by placing the completed painting next to an open fire. Since the only painting materials Pliny mentioned were wax, pigments, fire, and brushes, Caylus dismissed the use of solvents such as turpentine to soften wax and make it "paintable." To paint as the ancients did, Caylus considered that the wax needed to be heated. The watertight metal boxes depicted here could be filled with boiling water, which kept the colored waxes at a constant temperature. The box on the left has a roughened glass top used to grind the colors. A similar box with an opaque top would be a palette. 26. Fratrel,J. 1770. La cire alliee avec l'/wile ou la peinture a /wile-eire. Trouvee a Manheim par M. Charles Baron de Taubenheim experimerttee decrite & dedie a l'electeur. Manheim. 27. For further discussion of this method of painting, which was taken quite seriously not only by the inventor himself, but by most contemporary source books, see Massing, A. 1993. Arnaud Vincent de Montpetit and eludoric painting. Zeitschrifi jur Kunsttechnologie 7 (2):359-68. 28. For a discussion of this popular technique, see Massing A. 1989. From print to painting. The technique of glass transfer painting. Print Quarterly 6 (4):382-93. 29. Rouquet,J. A. 1755. L'art nouveau de la peinture en jromage, ou en remequin, inventee pour suivre Ie louable projet de trouver graduellement des jafons de peindre injerieures a celles qui existent. Marolles. Massing 29
Abstract The Roberson Archive, the archive of the artists' colorman Charles Roberson & Co. (1819-1985) is housed at the Hamilton Kerr Institute in Cambridge. Roberson was one of the most important colormen in nineteenth-century London. The material in the archive gives detailed information about the internal workings of the company and its relations to both its customers and suppliers. It is the largest artists' colorman archive in the United Kingdom and covers the period from 1815 to 1944, providing a record of the materials and techniques of many of the leading nineteenth- and twentieth-century British artists. In addition to catalogues, sample books, and more than three hundred account ledgers, there is a collection of pigments and objects sold by Roberson that provides material fo r analysis and study. A three-year research project is currently being undertaken to catalogue the archive, compile a database of the most important documents, and make the archive accessible for research. Figure 1. Roberson's shop at 154 Piccadilly, ca. 189{}-1911. Fitzwilliam Museum, University of Cambridge. The Roberson Archive: Content and Significance Sally A. Woodcock Hamilton Kerr Institute University of Cambridge Whittlesford Cambridge CB2 4NE United Kingdom The company's history Charles Roberson opened his first recorded shop to sell artists' materials at 54 Long Acre, London. Although accounts of the firm's history give the date as 1810, Henry Matley is listed as "colourman to artists" at this address in a trade directory of 1817, and a note in a recipe book dating from around the turn of the century states that Roberson did not succeed Matley until 1819 (1). At that time, the shop was in the heart of the artistic area of London, with the Royal Academy Schools being based nearby in Somerset House on the Strand. In 1828 Roberson and his assistant Thomas Miller became partners and moved to 51 Long Acre (2). The partnership dissolved in 1840. The company continued to trade on Long Acre, moving to the premises they built at number 99 in 1853. In 1868 the Royal Academy Schools moved to Burlington House, Piccadilly, and Roberson opened a retail branch on Piccadilly in 1890 (Fig. 1) (3). Over the following years, however, many artisans and manufacturing trades moved away from the center of London to be replaced by retailers and offices; in 1937 Roberson closed both the Piccadilly and Long Acre branches, moving to Parkway, Camden (4). They retained a West End presence for an unspecified length of time, arranging with the Medici Galleries in Grafton Street to move a "representative stock of Artists materials" from their closed Piccadilly branch in January 1940, to be sold from the galleries on commission (5). Two successive French addresses appeared in their catalogues after 1870, which they described as their depots in Paris, but which were in fact the premises of Parisian colormen (6). The company remained in the Roberson family until sold to a Dutch firm in the 1970s. G. F. Roberson Park remained a board member (7). In 1985 it went into liquidation. At liquidation the name was bought by the London colorman Cornelissen and a small range of high-quality materials bearing the Roberson name is still produced (8). The arrival of the archive at the Hamilton Kerr Institute In 1975 Roberson's historic accounts ledgers were moved to the Hamilton Kerr Institute (9). They were loaned to the Institute for safekeeping and research and, when the company was dissolved, became part of the Fitzwilliam Museum's manuscript collection. The archive is now housed in the Institute and will be available for research once cataloguing is complete. The archive consists of a collection of objects, including a large number of pigment samples, and more than three hundred ledgers dating from 1815 to 1944. There are several continuous series of different types of ledgers, but there are many gaps, and some sets appear to be incomplete (10). Despite this, it is the most extensive artists' colorman archive in the United Kingdom. The manuscripts in the Roberson Archive give a detailed picture of the company's activities. Only the most important categories are discussed here, as many of the warehouse, order, day, and sundries books contain information duplicated in the main accounts books. Catalogues and sample books The catalogues preserved in the archive date from 1840-1 853 to 1926-1933 and illustrate goods sold by Roberson. They offered a fairly conventional 30 Historical Painting Techniques, Materials, and Studio Practice
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Historical Painting Techniques, Mat
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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 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 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
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J Figure 3. Three-dimensional spect
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Figure 5. Detail IR-reflectogram fr
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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
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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
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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
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Abstract Extensive examination of A
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create surface gloss and could be v
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Figure 3. Andrea Mantegl1a, The Pre
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Abstract In September 1992 the J Pa
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arrow in Adonis's right hand ends a
Page 154 and 155:
For the early works are executed wi
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J Figure 3. Fluorescence spectrul1'
Page 158 and 159:
This property was deliberately used
Page 160 and 161:
Abstract The St. Anne Altarpiece (N
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Figure 3. Infrared reJlectogram ass
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Figure 5. Irifrared niflectogram as
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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
Page 184 and 185:
Figure 1. Perspective drawing of Ve
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Hague, 1996). The author is also gr
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Abstract The paper presents some re
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Summary We can conclude after this
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the product, a salesman motivated b
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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
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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
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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
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1960s in North America. Requiring b
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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
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8. It is not clear when people firs
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Errata for Historical Painting Tech
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PAGE 159 Figure 2. Image source: Pe
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