A collection of papers from the 2014 biennial ATSR symposium investigating the uses of source material for historical research and the conservation of art today.
The papers in this volume are from the 2014 biennial ATSR symposium held in Amsterdam which focused on art technological sources and their aid to research. The papers focus on using source material to research works of art such as artist’s notebooks, workshop inventories and documents on the trade in artists’ material from the middle ages until today. They show the importance of source material for art historical as well as material-technical or conservation research to highlight the coherence between the style of a work of art and the materials and techniques used in its production. Ultimately, concluding that the disclosure of such source material is of paramount importance for both art-historical as well as material-technical and conservation research.
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The painter’s workshop as seen by Stradanus
Jan Piet Filedt Kok
Back to basics: what do we do with art technological sources once we have found them?
William Whitney
Back to the text: artists’ recipe books as historical sources for research into art technology
Sylvie Neven
Artists’ treatises and recipe books: a discussion of authors, readers and users
Cristiana Pasqualetti
Light-sensitive pigments discussed in early sources on photochemical imaging processes
Albrecht Pohlmann
Eilido colours: sources relating to the introduction of coal-tar colours and their controversial reception in the early 20th century
Heide Skowranek, Heike Stege, Christoph Krekel and Christoph Steuer
Making paint in the 20th century: the Talens Archive
Klaas Jan van den Berg, Femke van Gurp, Sarah Bayliss, Aviva Burnstock and Bert Klein Ovink
Recipes for deceit: documentary sources for the production of paintings forgeries from 1300 to 1900
Jilleen Nadolny
What’s wrong with Thompson’s Cennini?
Lara Broecke and Mark Clarke
Compendium de coloribus collectum: a compendium of recipes in Palatine Ms. 981 of the Biblioteca Nazionale in Florence
Sandro Baroni and Federica Ferla
Pictoria, sculptoria et quae subaltenarum artium: is the de Mayerne manuscript unified or heterogeneous?
Cécile Parmentier
Breaking the mould: a history of sand mould casting in Western Europe based on early written sources
Tonny P.C. Beentjes
Interpreting lac dye in medieval written sources: new knowledge from the reconstruction of recipes relating to illuminations in Portuguese manuscripts
Rita Castro, Adelaide Miranda and Maria João Melo
‘To keep the colours fresh, alive and bright’: the influence of preparatory layers on the durability of oil painting, according to North West European recipe books 1550–1900
Maartje Stols-Witlox
The Jesuit contribution to written art technological sources in the 17th and 18th centuries
Corinna Gramatke
Liotard, Stoupan and the colours available to 18th-century European artists
Cécile Gombaud and Leila Sauvage
Forming or transformation: the technology of horn working in sources, in practice and compared to objects
Isabel Keller and Christoph Krekel
Shorter papers from poster presentations
Unpublished 17th-century documents relevant to the production of artists’ pigments
Arie Wallert
De vitri coloribus: a treatise on glass or pottery working and colouring
Paola Travaglio
Documentation of European recipes for glue lining paste
Ana Maria Macarrón, Ana Calvo and Rita Gil
Zinc vitriol in late medieval oil painting: a preliminary study using reconstructions
Indra Kneepkens, Katrien Keune and Arie Wallert
From collaboration to competition: the introduction of Heinrich Ludwig’s petroleum oil paints
Kathrin Kinseher
The use of documentary sources for identifying suppliers of painting materials in 19th-century Portugal
Ângela Ferraz, Leslie Carlyle and Rita Macedo
Reconsidering the use of copper resinate, from painting on canvas and panel to painting on glass and metal
Fabio Frezzato and Claudio Seccaroni
Winsor & Newton’s 19th-century manufacture of yellow chromate-based pigments
Vanessa Otero, Márcia Vilarigues, Leslie Carlyle and Maria João Melo
Painting techniques of Jean Cousin the Elder and Younger in the light of a French manuscript
Elisabeth Ravaud, Gilles Bastian, Myriam Eveno and Estelle Itié
Soehnée Frères retouching varnish and American painters
Ken Sutherland, Lance Mayer and Gay Myers
The trade in chalk as an artists’ material in early modern Europe
Marieken van den Bichelaer
The Royal Danish Colour Chamber and the 17th-century trade in artists’ materials
Anne Haack Christensen
(Re)constructed harmony: the replication of a Renaissance viol aided by historical sources
Sebastian Kirsch, Nanke C. Schellmann, Alfons Huber and Wolfgang Baatz
Medieval gilding
Alison Stock
