Historical Painting Techniques, - Getty
Historical Painting Techniques,
Materials, and Studio Practice
PUBLICATIONS COORDINATION: Dinah Berland
EDITING & PRODUCTION COORDINATION: Corinne Lightweaver
EDITORIAL CONSULTATION: Jo Hill
COVER DESIGN: Jackie Gallagher-Lange
PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas
SYMPOSIUM ORGANIZERS:
Erma Hermens, Art History Institute of the University of Leiden
Marja Peek, Central Research Laboratory for Objects of Art and Science,
Amsterdam
? 1995 by The J. Paul Getty Trust
All rights reserved
Printed in the United States of America
ISBN 0-89236-322-3
The Getty Conservation Institute is committed to the preservation of
cultural heritage worldwide. The Institute seeks to advance scientiRc
knowledge and professional practice and to raise public awareness of
conservation. Through research, training, documentation, exchange of
information, and ReId projects, the Institute addresses issues related to
the conservation of museum objects and archival collections,
archaeological monuments and sites, and historic bUildings and cities.
The Institute is an operating program of the J. Paul Getty Trust.
COVER ILLUSTRATION
Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy
of the British Library.
FRONTISPIECE
Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After
Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting,
Amsterdam.
Library of Congress Cataloguing-in-Publication Data
Historical painting techniques, materials, and studio practice :
preprints of a symposium [held at] University of Leiden, the
Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma
Hermens, and Marja Peek.
p.
cm.
Includes bibliographical references.
ISBN 0-89236-322-3 (pbk.)
2. Artists' materials-
1. Painting-Techniques-Congresses.
-Congresses. 3. Polychromy-Congresses.
1950-
II. Hermens, Erma, 1958-
ND1500.H57
I. Wallert, Arie,
. III. Peek, Marja, 1961-
1995
751' .09-dc20
95-9805
CIP
Second printing 1996
iv
Contents
vii
viii
Foreword
Preface
1
Leslie A. Carlyle, Beyond a Collection of Data: What We Can
Learn from Documentary Sources on Artists' Materials and
Techniques
6
Sylvana Barrett, Dusan C. Stulik,
An Integrated Approach for the
Study of Painting Techniques
12
Helen Glanville, Varnish, Grounds, Viewing Distance, and
Lighting: Some Notes on Seventeenth-Century Italian Painting
Technique
20
Ann Massing,
30
Sally A. Woodcock,
From Books of Secrets to Encylopedias: Painting
Techniques in France between 1600 and 1800
The Roberson Archive: Content and
Significance
38
Arie Wallert, Libro Secondo de Diversi Colori e Sise da Mettere a
A Fifteenth-Century Technical Treatise on ManUSCript
Illumination
Oro:
48
Erma Hermens, A Seventeenth-Century Italian Treatise on
Miniature Painting and Its Author(s)
58
Beate Federspiel,
65
Renate Woudhuysen-Keller,
70
Questions about Medieval Gesso Grounds
Aspects of Painting Technique in the
Use of Verdigris and Copper Resinate
Josephine A. Darrah,
Connections and Coincidences: Three
Pigments
78
Kate I. Duffy, Jacki A. Elgar, An Investigation of Palette and Color
Notations Used to Create a Set of Tibetan Thangkas
85
Zuzana Skalova, New Evidence for the Medieval Production of
Icons in the Nile Valley
91
Helen C. Howard, Techniques of the Romanesque and Gothic Wall
Paintings in the Holy Sepulchre Chapel, Winchester Cathedral
105
Eddie Sinclair, The Polychromy of Exeter and Salisbury
Cathedrals: A Preliminary Comparison
111
Andrea Rothe,
117
Andrea Mantegna's
Technical
A Note on Early
Ulrich Birkmaier, Arie Wallert, Andrea Rothe,
Examinations of Titian's Venus
Italian Oil Painting Technique
127
Adoration of the Magi
and Adonis:
Gerard David's
Evidence for Workshop Participation
Catherine A. Metzger, Barbara H. Berrie,
Anne Altarpiece:
St.
v
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