The articles in this volume circle around an area of study that has become known informally as 'technical art history'. It is a wide-ranging, inclusive vocation of the making of art and the means by which we throw light on that process. Although concentrating on painting techniques, materials and studio practice it goes far beyond the material into how concepts are translated into substance - how invenzione becomes disegno and colore. In this volume we travel in a great sweep from the general to the particular - from global sources of pigment supply to the specifics of extracting dyestuffs in seventeenth century Holland, from the medieval concepts of colour to vivid glimpses of nineteenth century London studies. This collection of articles demonstrate the great importance of painting techniques and materials for art historical research.
This lavishly illustrated book, the eleventh volume of the Leiden Art Historical Yearbook, contains papers provided by many important scholars in this interdisciplinary field.
Preface
Introduction
David Bomford (National Gallery, London)
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Interdisciplinary co-operation
The conservation scientist:
Some reflections upon the impact of scientific examination on art historical research
J.R.J van Asperen de Boer (Amsterdam)
The conservator:
Design, technique and execution: the dichotomy between theory and craft in nineteenth-century British instruction manuals on oil painting
Leslie Carlyle (Candian Conservation Institute, Ottawa)
The curator:
Taking a closer look: art historians, restorers and scientists
John Leighton (Van Gogh Museum, Amsterdam)
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Colour words in the high Middle Ages
John Gage (Cambridge University, Cambridge UK)
White and golden tin foil in applied relief decoration 1240-1530
Josephine A. Darrah (Victoria & Albert Museum, London)
Links with Schongauer in three early Netherlandish paintings in the National Gallery
Rachel Billinge (National Gallery, London)
Painters' methods to prevent colour changes described in sixteenth to early eighteenth century sources on oil painting techniques
Margriet van Eikema Hommes (University of Amersterdam)
Thoughts on the use of the green glaze called 'copper-resinate' and its colour-changes
Renate Woudhuysen- Keller and Paul Woudhuysen (Hamilton Kerr Institute, Cambridge University, Cambridge UK)
The intriguing changes through restoration of a newly discovered painting by Cornelis Cornelisz, van Haarlem
Annetje Boersma and Jeroen Giltaij (Conservator/Museum Boymans- van Beuningen, Rotterdam)
The glow in late sixteenth and seventeeth century Dutch painting
Paul Taylor (Warburg Institute, University of London)
The Antwerp brand on paintings on panel
Jorgen Wadum (Mauritshuis, The Hague)
Meaning and development of the ground-Layer in seventeeth century painting
Nico van Hout (Rubenianum, Antwerpen)
Johannes Verspronck: the technique of a seventeeth century Haarlem portraitist
Ella Hendrinks (Frans Halsmuseum, Haarlem)
The Pekstok Pepers: lake pigments, prisons and paint-mills
Erma Hermens and Arie Wallert (Art Historian-Conservator/Rijksmuseum, Amsterdam)
Aspects of drawing and painting in seventeenth century Spanish treatises
Zahira Veliz (Art Historian-Conservator, London)
French painting technique in the seventeeth and early eighteenth centuries and De La Fontaine's Academie de la peinture (Paris 1679)
Ann Massing (Hamilton Kerr Institute, Cambridge University, Cambridge UK)
Two still-life paintings by Jan van Huysum: an examination of painting technique in relation to documentary and technical evidence
Joris Dik and Arie Wallert (University of Amsterdam, Rijksmuseum, Amsterdam)
Holman Hunt on himself: textual evidence in aid of technical analysis
Melissa R. Katz (Wellesley College, Davis Museum of Art, USA)
Posing, reposing and decomposing: life-size lay figures, living models and artists' colourmen in nineteenth century London
Sally Woodcock (Courtauld Institute, London)
The Hafkenscheid Collection
Ineke Pey (Netherlands Architectural Institute, Rotterdam)
Artistic craftsmanship in the age of impatience
Cor Blok (Leiden University)
