Dimensions: 246 x 175 mm
Illustrations: 83 colour, 3 halftone
The origins of metalpoint (silverpoint, goldpoint, etc.) drawing are widely thought to lie in classical antiquity. The Luminous Trace investigates the artefactual and literary evidence for the use of metalpoint through the ages from earliest times up to its revival, particularly in the United States, in the later 20th and early 21st centuries, reviewing the history and historiography of metalpoint and its use for drawing and writing. Metalpoint drawings are the central objects of this study and their physical features are the prime consideration, juxtaposed with the written evidence which may suggest why artefacts look as they do.
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"This book is an invaluable resource for conservators and scientists undertaking analysis of metalpoints...In The Luminous Trace, Thea Burns presents the history of the metal point medium with greater clarity and accuracy than any prior source. I expect The Luminous Trace will soon become the definitive source on the history of drawing and writing in metalpoint.
Journal of the American Institute for Conservation - March 2015, Vol.54, No. I, pp57-59
"Primary texts on the subject include: Joseph Meder, The Mastery of Drawing; James Watrous, The Craft of Old-Master Drawings; and Thea Burns, The Luminous Trace: Drawing and Writing in Metalpoint.
'Drawings under Scrutiny: The Materials and Techniques of Metalpoint' in Drawing in Silver and Gold: Leonardo to Jasper Johns - Washington 2015, pp21 note 1.