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The papers in this volume constitute a substantial body of work that provides a wide-ranging overview of current research on the technology and practice of Old Master paintings, covering some 700 years of European painting, from the thirteenth century to the early twentieth century, including works by Guido da Siena, Bellini, Michelangelo, Leonardo da Vinci, Fernando Gallego, Holbein, Caravaggio, El Greco, Rubens, Murillo, Gainsborough, Reynolds, Whistler, van Gogh and Munch. Six of the contributions focus on technological or historical aspects of specific artists' materials.
These papers were presented at a conference held at the National Gallery to celebrate the 30th anniversary of the�National Gallery Technical Bulletin. The�Bulletin�has a long history of publishing interdisciplinary research on the technical examination of paintings to inform both art-historical study and issues relating to the material history of a work. This type of research was the central focus of the conference and provided the overall thematic link between the contributions presented.
The growing field of technical art history has reached an important new height with the publication of this volume...Collaborations between curators, conservators and conservation scientists have produced a rich collection of studies...
Introduction
Ashok Roy
The 'Paliotto' by Guido da Siena from the Pinacoteca Nazionale, Siena
Marco Ciatti, Roberto Bellucci, Camilla Fracassi, Cecilia Frosinini, Carlo Lalli, Linda Lucarelli and Luciano Sostegni
Painting on parchment and panel: an exploration of Pacino di Bonaguida's technique
Yvonne Szafran, Carole Namowicz, Catherine Schmidt Patterson, Christine Sciacca, Karen Trentelman and Nancy Turner
Technical similarities between mural painting and panel painting by Giovanni da Milano: Guidalotti-Rinuccini chapel, Santa Croce, Florence
Fabrizio Bandini, Alberto Felici, Cecilia Frosinini, Mariarosa Lanfranchi and Paola Ilaria Mariotti
Neroccio's Virgin and Child with Saint Anthony Abbott and Saint Sigismund at the National Gallery of Art, Washington, DC
Carol Christensen, Suzanne Quillen Lomax, Michael Palmer and Steve Wilcox
A new examination of Giovanni Bellini's 'Pesaro Altarpiece': recent findings and comparisons with other works by Bellini
Gianluca Poldi and Giovanni Carlo Federico Villa
Examination of the Uomini Illustri: looking for the origins of the portraits in the Studiolo of the Ducal Palace of Urbino. Part I
Michel Menu, Estelle Iti�, �lisabeth Ravaud, Myriam Eveno, Elsa Lambert, Eric Laval, Ina Reiche, Rocco Mazzeo, Maria Letizia Amadori, Irene Bonacini, Edith Joseph, Silvia Prati and Giorgia Sciutto
Examination of the Uomini Illustri: looking for the origins of the portraits in the Studiolo of the Ducal Palace of Urbino. Part II
Rocco Mazzeo, Michel Menu, Maria Letizia Amadori, Irene Bonacini, Estelle Iti�, Myriam Eveno, Edith Joseph, Elsa Lambert, Eric Laval, Silvia Prati, �lisabeth Ravaud and Giorgia Sciutto
Michelangelo's 'Doni Tondo' investigated with non-invasive analytical techniques
Ezio Buzzegoli and Roberto Bellucci
Granacci in The Metropolitan Museum of Art: aspects of evolving workshop practice
Charlotte Hale, Julie Arslanoglu and Silvia A. Centeno
Leonardo da Vinci's The Virgin and Child with Saint Anne (Mus�e du Louvre, Paris): new infrared reflectography
Bruno Mottin
Leonardo da Vinci's Virgin of the Rocks: technique and the context of restoration
Larry Keith, Ashok Roy and Rachel Morrison
Observations on workshop practice in fifteenth-century Castile: the altarpiece from the cathedral at Ciudad Rodrigo by Fernando Gallego and his workshop
Claire Barry
Studying the 'Graue Passion' by Hans Holbein the Elder
Stephanie Dietz, Henning Autzen, Ursula Baumer, Patrick Dietemann, Irene Fiedler, Christoph Krekel, Anna Sch�nemann and Amelie Stange
Albrecht Altdorfer's Crucifixion (Museum of Fine Arts, Budapest)
Mark Leonard, Carole Namowicz and Anne Woollett
Developments in the underdrawing and painting technique of the sixteenth-century Leiden School, in particular the workshops of Cornelis Engebrechtsz and Lucas van Leyden
Esther van Duijn, Jan Piet Filedt Kok, Abbie Vandivere, Arie Wallert and Margreet Wolters
In search of the right colour: colour notations in a late sixteenth-century Dutch painting
Friso Lammertse, Arie Wallert and Margreet Wolters
Caravaggio's underdrawing: a 'Quest for the Grail'?
Roberto Bellucci, Cecilia Frosinini and Luca Pezzati
Multiplicity, authorship and chronology: an integrated evaluation of four images of Saint Francis by El Greco
Cynthia Kuniej Berry, Francesca Casadio, Inge Fiedler, Richard Mann, Ana S�nchez-Lassa and Jos� Luis Gorospe
Between creativity and economy: remarks on the quality of Rubens' panel supports. A study of paintings in the Royal Museums of Fine Arts of Belgium
H�l�ne Dubois and Pascale Fraiture
Travels with Rubens' Last Judgement
Andreas Burmester, Nina Schleif and Melanie Eibl
The painting techniques of the Rosenborg Series 1618-1624 and painting materials supplied to the Danish court painters at the time of King Christian IV
Anne Haack Christensen
Nine Muses in the Oranjezaal: the painting methods of Caesar van Everdingen and Jan Lievens confronted
Margriet van Eikema Hommes and Lidwien Speleers
Material as metaphor: non-conscious thinking in seventeenth-century painting practice
E. Melanie Gifford
Murillo's Christ Healing the Paralytic at the Pool of Bethesda: an introduction to the artist's late painting technique
Hayley Tomlinson, Helen Howard, David Peggie, Paul Ackroyd and Dawson Carr
About skin: technical examination of paintings by Adriaen van der Werff
Arie Wallert and Willem de Ridder
Two 'mechanical' oil paintings after de Loutherbourg: history and technique
David Saunders and Antony Griffiths
A lost early conversation piece by Thomas Gainsborough
Rica Jones, Joyce H. Townsend, Elizabeth Einberg and Hugh Belsey
'I can see no vermilion in flesh': Sir Joshua Reynolds' portraits of Francis Beckford and Suzanna Beckford, 1755-1756
Helen Brett, Joyce H. Townsend, Rica Jones, Jaap Boon and Katrien Keune
Benjamin West and the Venetian Secret
Mark Aronson, Helen A. Cooper and Angus Trumble
Aspects of Christen K�bke's painting technique: from drawing via oil sketch to the final painting
J�rgen Wadum, Kasper Monrad and Mikkel Scharff
Action speaks louder than words: Thomas Couture as a teacher
Jane Munro and Marie Louise Sauerberg
James McNeill Whistler: fluidity, finish and experiment
Erma Hermens and Arie Wallert
A comparative study of Vincent van Gogh's Bedroom series
Ella Hendriks, Leo Jansen, Johanna Salvant, �lisabeth Ravaud, Myriam Eveno, Michel Menu, Inge Fiedler, Muriel Geldof, Luc Megens, Maarten van Bommel, C. Richard Johnson Jr and Don. H. Johnson
The Scream by Edvard Munch: painting techniques and colouring materials
Unn Plahter and Biljana Topalova-Casadiego
Wood species in Italian panel paintings of the fifteenth and sixteenth centuries: historical investigation and microscopical wood identification
Raffaella Bruzzone and Maria Clelia Galassi
The use of blue and green verditer in green colours in the mid-seventeenth-century paintings of the Oranjezaal, The Hague
Annelies van Loon and Lidwien Speleers
The rediscovery of sublimed arsenic sulphide pigments in painting and polychromy: applications of Raman microspectroscopy
G�nter Grundmann, Natalia Ivleva, Mark Richter, Heike Stege and Christoph Haisch
In quest of vermilion: production, commerce and use of the pigment in eighteenth-century Spain
Stefanos Kroustallis, Rocio Bruquetas and Marisa G�mez
'The heaviest and the whitest': lead white quality in north western European documentary sources, 1400-1900
Maartje Stols-Witlox
Lead white from Venice: a whiter shade of pale?
Barbara Berrie and Louisa Matthew