Some error occured while loading the Quick View. Please close the Quick View and try reloading the page.
The overall theme of this volume is the artistic process as manifested in the artwork itself and as documented in visual and written sources. While many of the papers look at the work of 19th and early 20th century painters, other topics include Baroque decoration, the controversy about paints in Germany in the early 20th century, and non-traditional oils in artists’ oil paints. The many editions of Theophilus' Schedula diversarum arcium and Alessio Piemontese's Secreti are listed and discussed. A number of sources that have previously received relatively little attention from scholars of art technology are considered, such as lawsuits, realia, diaries, and the use of modelling techniques from other fields that could be usefully applied to source research to give a clearer picture of the actual trends of development and use of new materials and technologies.
The artists whose works are examined include: Alonso Berruguete; Pedro Cabrita Reis; Goya; van Mander; the goldsmith Wenzel Jamnitzer; the pastel painter Rienk Jelgerhuis; Van Gogh; Edvard Munch and Lyonal Feininger.
Proceedings of the fourth symposium of the Art Technological Source Research Working Group.
Foreword
Acknowledgements
From source to chronology: studies on macro-scale behaviour in art technology
Nicholas Eastaugh
Living sources: experts, masters and practitioners
Timea Tallian
Some thoughts on realia: material sources for art technological source research
Ad Stijnman
Judging art: lawsuits involving the painter and sculptor Alonso Berruguete as sources for art technology
Rocio Bruquetas and Stefanos Kroustallis
Reworking and reuse: adaptation and use in workshop texts
Mark Clarke
A short-title bibliography of the Secreti by Alessio Piemontese
Ad Stijnman
Theophilus: a methodological approach to reading an art technological source
Doris Oltrogge
A unique 12th-century illuminator’s treatise: an original composition incorporated in the Brussels Compendium artis picturae
Mark Clarke
‘The book on how one makes colours of all shades in order to illuminate books’ revisited
Catarina Miguel, Adelaide Miranda, Marisa Oliveira, Maria João Melo and Mark Clarke
A glimpse of the Renaissance: colours and geometrical patterns on a southern German game board of the late 16th century
Sabine Formánek
Identifying 16th-century paints on silver using a contemporary manuscript
Tamar Davidowitz, Tonny Beentjes, Joosje van Bennekom and Sara Creange
Saffron for purity: raw materials for the production of coloured glazes in 16th-century German recipes
Christoph Krekel and Helena Fuertes
An unknown art technological source for Austrian Baroque art: the diary of Abbot Hieronymus Übelbacher of Dürnstein for 1710-40
Manfred Koller
Raised decorations applied to Baroque polychrome sculpture in Coimbra, Portugal: the production of painter-gilders or sculptors?
Agnès Le Gac, Ana Isabel Seruya, Jean Bleton, Sung Voduy and José Carlos Frade
‘To prepare white excellent…’: reconstructions investigating the influence of washing, grinding and decanting of stack-process lead white on pigment composition and particle size
Maartje Stols-Witlox, Luc Megens and Leslie Carlyle
De Groote Waereld in ‘t Kleen Geschildert (The Big World Painted Small): a Dutch 17th-century treatise on oil painting technique
Arie Wallert
Sources for the study of pigments used by Goya and other 18th-century Spanish painters
Rocio Bruquetas
Instructions on the making of pastel crayons and their use in pastel painting: a manuscript in the Rijksmuseum, Amsterdam
Idelette van Leeuwen, Arie Wallert, Cécile Gombaud and Joana Pedroso
Ernst Berger and the late 19th-century Munich controversy over painting materials
Kathrin Kinseher
Reconstruction and imaging of copy press samples
Agathi Anthoula Kaminari, Athina Alexopoulou, Penelope Banou, Philip Miller Tate and Eileen M. Buckley-Dhoot
Exploring an artist’s practice: Edvard Munch’s paint tubes
Hartmut Kutzke and Biljana Topalova-Casadiego
Interpreting Van Gogh’s plein air painting practice: written sources versus painted image
Devi Ormond, Teio Meedendorp, Muriel Geldof, Luc Megens and Kathrin Pilz
Bernsteinlack, Vernis Vibert and Weimarweiß: the letters of Lyonel Feininger (1871-1956) as a key source for his painting technique
Albrecht Pohlmann
Shorter papers from poster presentations
A virtual colour reconstruction project for Romanesque wall painting in Sixena, Spain
Rosa M. Gasol
The painting process in the Bishop’s Chapel in Gurk, Carinthia (Austria)
Markus Santner, Wolfgang Baatz, Renáta Burszán and Jörg Riedel
Regraxar or glazing: aspects of this technique in a group of Portuguese paintings attributed to Francisco João (active 1563-95)
Helena Pinheiro de Melo, António João Cruz, Jana Sanyova, António Candeias, José Mirão, Sara Valadas
In search of van Mander’s primuersel: coloured intermediate layers in early 16th-century Netherlandish paintings
Abbie Vandivere
Ground layers in Portuguese Baroque polychrome wooden sculptures: analytical results versus documentary sources
Carolina Barata, António João Cruz, Jorgelina Carballo, João Coroado and Maria Eduarda Araújo
An approach to the analysis of Swedish painted wall hangings (1700-1870)
Ingalill Nyström
J.W. Schirmer’s 19th-century use of grisaille underpainting
Börries Brakebusch
Industrial development of plastics and 20th-century art: new synergies
Silvia García Fernández-Villa, Margarita San Andrés Moya and Selina Blasco
Sabu colours: vinyl artists’ paints from the 1960s
Joana Lia Ferreira, Maria João Melo and Ana Maria Ramos
Ole Kandelin’s painting processes and materials
Suvi Leukumaavaara and Seppo Hornytzkyj
Restoring Francesc Artigau’s paintings from 1966
Anna Nualart Torroja, M. José González Madrid, Marina Mascarella Vilageliu and Marta Oriola Folch
Materials and painting processes of Pedro Cabrita Reis: the artist’s memory versus materials analysis
Ana Cudell, António João Cruz, Ana Martins, Jorgelina Carballo, Ana Calvo and Sandra Saraiva
Around Theophilus: an expert meeting towards new standards in Theophilus scholarship
Mark Clarke and Ad Stijnman