IIC 1998 Dublin Congress

Some observations on panel painting technique in Tuscany from the twelfth to the thirteenth century

Marco Ciatti

Hispano-Muslim wall paintings

Carmen Rallo and Enrique Parra

The technique of the mural paintings in the choir of Angers Cathedral

Sylvie Demailly, Paulette Hugon, Marcel Stefanaggi amd Witold Nowik

The technical study of a late thirteenth-century Byzantine marginal psalter from the Walters Art Gallery

Abigail Quandt and Arie Wallert

Analytical study of the evolution of panel painting technique in Valencian workshops from the fourteenth to the seventeenth century

M.T. Domenech, R. Mateo, V. Peris, J.V. Gimeno, F. Bosch, E. Aura and E. Lopez

The mediaeval polychromy of the Majestic West Portal of Toro, Spain: insight into the workshop activities of late mediaeval painters and polychromers

Melissa R. Katz

English fourteenth-century interior polychromy: manuscript sources and workshop practice at Exeter Cathedral

Anna Hulbert

The Thornham Parva retable: workshop practice in fourteenth-century English panel painting

Louisa Goldsmith and Spike Bucklow

The recipe collection of Johannes Alcherius and the painting materials used in manuscript illumination in France and Northern Italy, c. 1380-1420

Nancy Turner

Painting techniques in the Boucicaut Hours and in Jacques Coene’s colour recipes as found in Jean Lebègue’s Libri Colorum

Bernard Guineau, Inès Villela-Petit and Jean Vezin

Painting on parchment besides miniatures: scientific analyses and a study of the artistic techniques of Giovannino de’ Grassi’s model book

Letizia Montalbano, Michela Piccolo and Maria Grazia Vaccari

Late mediaeval wall painting techniques at Farleigh Hungerford Castle and their context

Helen Howard, Tracy Manning and Sophie Stewart

The ‘Calvary’ of S. Francisco’s church in Leiria: workshop practice in a Portuguese late Gothic wall painting

Graça Gorta, Isabel Ribeiro and Luís Afonso

The construction and painting of a large Castilian retable: a study of techniques and workshop practices

Sam Hodge, Marika Spring and Ray Marchant

Oil painting in the late Middle Ages in Spain: the relationship of style to technique in the Epiphany Altarpiece of Saint Paul’s Convent in Toledo

Marta Presa, Rocío Bruquetas and Marco Connor

Stylistic, technical and material developments in the paintings of Giovanni di Paolo

Elyse Klein, Eric Gordon and Karen French

Piero della Francesca’s process: panel painting technique

Roberto Bellucci and Cecilia Frosinini

The Washington Portrait of a Lady by Rogier van der Weyden reconsidered in light of recent investigations

Catherine A. Metzger and Michael Palmer

The origin and significance of marbling and monochrome paint layers on frames and supports in Netherlandish painting of the fifteenth and sixteenth centuries

Hélène Verougstraete and Roger van Schoute

The relationship between Albrecht Dürer’s palette and fifteenth/sixteenth-century pharmacy price lists: the use of azurite and ultramarine

Andreas Burmester and Christoph Krekel

Artistic exchange and experimental variation: studies in the workshop practice of Lucas Cranach the Elder

Gunnar Heydenreich

Some aspects of the utilization of different wood species in certain European workshops

Peter Klein

Contribution to the study of grounds for panel painting of the Spanish School in the fifteenth and sixteenth centuries

S. Santos Gómez, M. San Andrés Moya, J.L. Baldonedo Ródriguez, O. Conejo Sastre, M.I. Báez Aglio and A. Rodriguez Muñoz.

The development of painting on coloured surfaces in sixteenth-century Italy

Jill Dunkerton and Marika Spring

The Elizabethan wall paintings of Hill Hall: influences and techniques

Tobit Curteis

Antwerp artists and the practice of painting on copper

Michael K. Komanecky, Isabel Horovitz and Nicholas Eastaugh

Peter Stas: an Antwerp coppersmith and his marks (1587-1610)

Jørgen Wadum

Esaias van de Velde’s technical innovations: translating a graphic tradition into paint

E. Melanie Gifford

A note on technical aspects of prints and paintings of Hercules Segers

Arie Wallert

Sixteenth- to eighteenth-century green colours in landscape and flower paintings: composition and deterioration

Jo Kirby and David Saunders

A new lead-based yellow in the seventeenth century

Ashok Roy and Barbara H. Berrie

Indigo used in the Haarlem Civic Guard group portraits by Frans Hals

E. Hendriks, M. van Eikema Hommes and K. Levy-van Halm

Italian wall painting in oil: Carlo Bononi and Ferraù Fenzoni, two artists of the seventeenth century

A. Tucci, F. Bevilacqua, C. di Francesco and V. Tagliatti

Eight seventeenth-century decorative paintings – one painter?

Tone Marie Olstad and Kristin Solberg

Seventeenth-century church paintings of Gottfried Hendtzschel: technical examination and church records

Tine Frøysaker

French eighteenth-century painting techniques

Elma O’Donoghue, Rafael Romero and Joris Dik

The political construction of fragility and French arts policy around 1750

Thea Burns

The technique of Sir Henry Raeburn examined in the context of late eighteenth-century British portraiture

Lesley A. Stevenson

Supplying artists’ materials to Australia 1788-1850

Erica Burgess and Paula Dredge

Nineteenth-century paint media: the formulation and properties of megilps

Joyce H. Townsend, Leslie Carlyle, Aviva Burnstock, Marianne Odlyha and Jaap J. Boon

Mixing and mingling: John Constable’s oil paint mediums c. 1802-1837, including the analysis of the ‘Manton’ paint box

Sarah Cove

An examination of the relationship between the materials and techniques used for works on paper, canvas and panel by Honoré Daumier

Aviva Burnstock and William Bradford

G.F. Watts in context: his choice of materials and techniques

Jacqueline Ridge and Joyce H. Townsend

Methods and materials of the Pre-Raphaelite circle in the 1850s

Libby Sheldon

Absorbent grounds and the matt aesthetic in Post-Impressionist painting

Vojtech Jirat-Wasiutynski and H. Travers Newton Jr

The Life of a Painter: technical information in painters’ biographies and autobiographies published in Britain 1820-1940

Sally Woodcock

Painting materials research in Munich from 1825 to 1937

Bruce F. Miller