This collection of writings on the subject of medieval painting and polychromy in northern Europe celebrates the 70th birthday of Unn Plahter, Professor at the University of Oslo. Throughout her long career, Unn has assumed many roles, among them prolific scholar, tireless promoter of education in conservation and active participant in the international conservation community. The contributions in this book have been chosen to reflect Unn's wide range of research interests in the field of medieval painting. They present an in-depth analysis of many aspects of medieval painting technique, at the same time providing a much-needed entry into the rich Scandinavian scholarship, which is largely unavailable in English. Further context is offered by the inclusion of important English comparative material and of broader studies of medieval painting and aspects of analysis, all extensively illustrated with colour reproductions.
The contributions contained herein comprise definitive studies by some of the most prominent medieval scholars in Europe and entirely new technical investigations of important medieval objects. Divided into three main categories - technical studies of individual objects, technical art history and analysis and art history - this book is essential reading for anyone interested in medieval painting and polychromy.
Tabula Gratulatoria
Preface
Jileen Nadolny
A Driving force
Erling Skaug
Acknowledgements
Publications of Unn Plahter
Kaja Kollandsrud, Tine Frøysaker and Jilleen Nadlony
List of abbreviations
Reprints
The crucifix from Hemse
Peter Tångeberg
The crucifix from Hemse: analyses of the painting technique
Unn Plahter
The St Olav from Fresvik and the St Paul from Gausdal: two medieval polychromed sculptures. Part 1: form and polychromy
Svein A. Wiik
The St Olav from Fresvik and the St Paul from Gausdal: two medieval polychromed sculptures. Part 2: painting technique, materials and structures
Unn Plahter
Technical studies
Painted wood from the eleventh century: examination of the Hørning plank
Mads Chr. Christensen
The calvary group in Urnes Stave Church, Norway: a technological examination
Tine Frøysaker and Kaja Kollandsrud
The enthroned virgin of Stora Malm, Södermanland, Sweden
Peter Tangeberg
New light on the virgin from Veldre, the virgin from Østsinni and the crucifix from Tretten
Kaja Kollandsrud
Wall painting technology at Westminster Abbey c. 1260-1300: a comparative study of the murals in the south transept and the Chapel of St Faith
Emily Howe
The materials and techniques of the c. 1307 Westminster Abbey Sedilia
Lucy Wrapson
The original technique of the Westminster Abbey portrait of Richard II
Jilleen Nadolny and Ashok Roy
Technical art history and analysis
All that's burnished isn't bole. Reflections on medieval water gilding part 1: early medieval to 1300
Jilleen Nadolny
A brief tale of incompatibilities
Patricia Stirnemann
Copies, reworkings and renewals in late medieval recipe books
Inès Villela-Petit
'The third element': preliminary notes on parchment, canvas and fibres as structural components related to the grounds of medieval and Renaissance panel paintings
Erling Skaug
Shells as palettes and paint containers in England
Helen Howard
Some observations on the binder and dyestuff composition of glaze paints in early European panel paintings
Raymond White and Jo Kirby
Analyses reconsidered: the importance of the pigment content of paint in the interpretation of the results of examination of binding media
Marika Spring and Catherine Higgitt
Art history
Matthew Paris in Norway: The Faberg St Peter
Paul Binski and Marie Louise Sauerberg
Danish panel painting until c. 1300
Ebbe Nyborg
The Norwegian and Swedish crucifixi dolorosi c. 1300-50 in their European context
Nigel J. Morgan
List of contributors
Reviews
This book fulfils and exceeds the promise of its title, and it should be drawn to the attention of any conservator or art historian concerned with any European painting before around 1500.
Studies in Conservation 53 (2008) 300-301
