Some error occured while loading the Quick View. Please close the Quick View and try reloading the page.
The papers in this volume were presented at the CATS two-day technical art history conference which had as its theme Technology & Practice: Studying the European Visual Arts 1800–1850. Paintings, Sculpture, Interiors and Art on Paper. The meeting explored tradition and changes in artistic practices seen in the light of the establishment of several national art academies in Europe throughout the 18th century.
The lavishly illustrated contributions focus on the making of artworks during the first half of the 19th century, a period also known in Denmark as the Golden Age. Investigations into artists’ techniques and materials and written sources include studies of the work of various artists including Hans Christian Andersen, Constable, Daubigny, Eckersberg, Fearnley, Friedrich, Købke, Lundbye, Rørbye, Turner and studies of architecture and decorative schemes in London by Barry (at the Reform Club) and Soane (at Lincoln’s Inn Fields) and the work of Peter von Cornelius, Leo von Klenze and others in Munich.
This third CATS Proceedings will be of interest to scholars and students, museum professionals, curators, conservators, art historians and conservation scientists.
Foreword
The Danish revolution: new practices among Danish landscape painters 1814–1850
Kasper Monrad
The Reform Club, London: the grand British–Italian palazzo of the industrial age
Fernando Caceres Jara
Corot’s The Four Times of Day: a decorative scheme for Decamps’s Fontainebleau studio
Sarah Herring, Hayley Tomlinson, Gabriella Macaro and David Peggie
The art historical and technical examination of Sir John Soane’s ‘Experimental Room’ at No. 12 Lincoln’s Inn Fields
Helen Hughes
Canvas supports and grounds in paintings by C.W. Eckersberg
Troels Filtenborg and Cecil Krarup Andersen
From Courbet to Daubigny: the mystery behind Sluice Gate at Optevoz
Eva Ortner
A technical study of 19th-century papers used by Danish artists
Anna-Grethe Rischel
Principal version or replica? Examining Martinus Rørbye’s practice when copying others or his own paintings
Jørgen Wadum, Troels Filtenborg, Kasper Monrad and Jesper Svenningsen
Thomas Fearnley en route: a 19th-century artist’s choice of drawing and fixing materials
Birgit Reissland, Tina Grette Poulsson, Henk van Keulen and Ineke Joosten
Fit for purpose: 30 years of the Constable Research Project
Sarah Cove
Turner’s Regulus: a tale of violence, abuse and accident, illuminated by technical study
Joyce H. Townsend, Rebecca Hellen and Ian Warrell
Romantic icons: a technical study of the underdrawing for Caspar David Friedrich’s Monk by the Sea and Abbey in the Oakwood
Kristina Mösl and Francesca Schneider
In search of the ultimate painting technique: Munich in the 1820s–1840s
Renate Poggendorf