Author: Perrin Stein
Publisher: Yale University Press
ISBN: 0300197004
Category : Art
Languages : en
Pages : 247
Book Description
Catalog of an exhibition held at the Metropolitan Museum of Art, New York, October 1, 2013-January 5, 2014.
Artists and Amateurs
Author: Perrin Stein
Publisher: Yale University Press
ISBN: 0300197004
Category : Art
Languages : en
Pages : 247
Book Description
Catalog of an exhibition held at the Metropolitan Museum of Art, New York, October 1, 2013-January 5, 2014.
Publisher: Yale University Press
ISBN: 0300197004
Category : Art
Languages : en
Pages : 247
Book Description
Catalog of an exhibition held at the Metropolitan Museum of Art, New York, October 1, 2013-January 5, 2014.
Scientific Examination of Art
Author:
Publisher: National Academies Press
ISBN: 0309096251
Category : Technology & Engineering
Languages : en
Pages : 254
Book Description
Examines the application of scientific methods to the study and conservation of art and cultural properties. This work addresses scientific topics of broad interest, cutting across the boundaries of traditional disciplines and attracting up to 250 leadingresearchers in the field.
Publisher: National Academies Press
ISBN: 0309096251
Category : Technology & Engineering
Languages : en
Pages : 254
Book Description
Examines the application of scientific methods to the study and conservation of art and cultural properties. This work addresses scientific topics of broad interest, cutting across the boundaries of traditional disciplines and attracting up to 250 leadingresearchers in the field.
Studying 18th-century Paintings and Works of Art on Paper
Author: Centre for Art Technological Studies and Conservation
Publisher:
ISBN: 9781909492233
Category : Artists' materials
Languages : en
Pages : 0
Book Description
This is the second CATS Conference Proceedings with papers from the international conference: Technology & Practice: Studying 18th Century Paintings & Art on Paper. The conference was organised by CATS in collaboration with Helsinki Metropolia University of Applied Science in Helsinki, Finland; National museum in Stockholm, Sweden, and University of Oslo, Norway. The conference focused on artists' techniques and materials, source research, conservation science, the history of science and technology, trade and pharmacy during the 18th century. Speakers explored tradition and changes in artistic practices in the light of the establishment of a series of national Art Academies in Europe throughout the century. Papers include topics such as workshop practice and materials, art historical and technical approaches to documentary evidence and technical examination and the analysis of paintings and drawings. Also issues of trade, supply and questions concerning the demand for materials for diverse artistic expressions are analysed and discussed. Contents: ForewordDiscipline and wonder: the 18th-century art academy and the invention of the artist as a free practitionerMikkel BoghThe effect of Prussian blue on the technique of the Danish court painters Hendrik Krock and Benoît le CoffreLoa Ludvigsen, Mikala Bagge and Vibeke RaskBreaking new ground: investigating Pellegrini's use of ground in the Golden Room of the Mauritshuis Carol Pottasch, Susan Smelt and Ralph HaswellLiotard's pastels: techniques of an 18th-century pastellistLeila Sauvage and Cécile GombaudAn investigation of the painting technique in portraits by Jens JuelTine Louise Slotsgaard72 florin for colours, white and glue: the Tiepolos, the Veninos and WürzburgAndreas Burmester and Stefanie CorrellThe coarse painter and his position in 17th- and 18th-century Dutch decorative paintingPiet Bakker, Margriet van Eikema Hommes and Katrien KeuneA 'painted chamber' in Beverwijk by Johannes Luberti Augustini: novel insights into the working methods and painting practices in a painted wall-hanging factoryIge Verslype, Johanneke Verhave, Susan Smelt, Katrien Keune, Hinke Sigmond and Margriet van Eikema HommesEighteenth-century practices in the art academies in Spain: the use of paper in prints and drawingsClara de la Peña McTigueNicolai Abildgaard: an 18th-century Danish artist and his paperIngelise Nielsen and Niels BorringSemi-mechanical transfer methods in Nicolai Abildgaard's drawingsNiels BorringCanvas supports in paintings by Nicolai Abildgaard: fabrics and formatsTroels Filtenborg'1st olio after Capivi' copaiba balsam in the paintings of Sir Joshua ReynoldsAlexandra Gent, Rachel Morrison and Nelly von AderkasFerdinand Bauer's Flora Graeca colour code Richard Mulholland
Publisher:
ISBN: 9781909492233
Category : Artists' materials
Languages : en
Pages : 0
Book Description
This is the second CATS Conference Proceedings with papers from the international conference: Technology & Practice: Studying 18th Century Paintings & Art on Paper. The conference was organised by CATS in collaboration with Helsinki Metropolia University of Applied Science in Helsinki, Finland; National museum in Stockholm, Sweden, and University of Oslo, Norway. The conference focused on artists' techniques and materials, source research, conservation science, the history of science and technology, trade and pharmacy during the 18th century. Speakers explored tradition and changes in artistic practices in the light of the establishment of a series of national Art Academies in Europe throughout the century. Papers include topics such as workshop practice and materials, art historical and technical approaches to documentary evidence and technical examination and the analysis of paintings and drawings. Also issues of trade, supply and questions concerning the demand for materials for diverse artistic expressions are analysed and discussed. Contents: ForewordDiscipline and wonder: the 18th-century art academy and the invention of the artist as a free practitionerMikkel BoghThe effect of Prussian blue on the technique of the Danish court painters Hendrik Krock and Benoît le CoffreLoa Ludvigsen, Mikala Bagge and Vibeke RaskBreaking new ground: investigating Pellegrini's use of ground in the Golden Room of the Mauritshuis Carol Pottasch, Susan Smelt and Ralph HaswellLiotard's pastels: techniques of an 18th-century pastellistLeila Sauvage and Cécile GombaudAn investigation of the painting technique in portraits by Jens JuelTine Louise Slotsgaard72 florin for colours, white and glue: the Tiepolos, the Veninos and WürzburgAndreas Burmester and Stefanie CorrellThe coarse painter and his position in 17th- and 18th-century Dutch decorative paintingPiet Bakker, Margriet van Eikema Hommes and Katrien KeuneA 'painted chamber' in Beverwijk by Johannes Luberti Augustini: novel insights into the working methods and painting practices in a painted wall-hanging factoryIge Verslype, Johanneke Verhave, Susan Smelt, Katrien Keune, Hinke Sigmond and Margriet van Eikema HommesEighteenth-century practices in the art academies in Spain: the use of paper in prints and drawingsClara de la Peña McTigueNicolai Abildgaard: an 18th-century Danish artist and his paperIngelise Nielsen and Niels BorringSemi-mechanical transfer methods in Nicolai Abildgaard's drawingsNiels BorringCanvas supports in paintings by Nicolai Abildgaard: fabrics and formatsTroels Filtenborg'1st olio after Capivi' copaiba balsam in the paintings of Sir Joshua ReynoldsAlexandra Gent, Rachel Morrison and Nelly von AderkasFerdinand Bauer's Flora Graeca colour code Richard Mulholland
Historical Painting Techniques, Materials, and Studio Practice
Author: Arie Wallert
Publisher: Getty Publications
ISBN: 0892363223
Category : Art
Languages : en
Pages : 241
Book Description
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
Publisher: Getty Publications
ISBN: 0892363223
Category : Art
Languages : en
Pages : 241
Book Description
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
Spreading Canvas
Author: Eleanor Hughes
Publisher: Yale University Press
ISBN: 9780300221572
Category : ART
Languages : en
Pages : 0
Book Description
Spreading Canvas takes a close look at the tradition of marine painting that flourished in 18th-century Britain. Drawing primarily on the extensive collections of the Yale Center for British Art and the National Maritime Museum in Greenwich, London, this publication shows how the genre corresponded with Britain's growing imperial power and celebrated its increasing military presence on the seas, representing the subject matter in a way that was both documentary and sublime. Works by leading purveyors of the style, including Peter Monamy, Samuel Scott, Dominic Serres, and Nicholas Pocock, are featured alongside sketches, letters, and other ephemera that help frame the political and geographic significance of these inspiring views, while also establishing the painters' relationships to concurrent metropolitan art cultures. This survey, featuring a wealth of beautifully reproduced images, demonstrates marine painting's overarching relevance to British culture of the era. Published in association with the Yale Center for British Art Exhibition Schedule: Yale Center for British Art, New Haven (09/15/16-12/04/16)
Publisher: Yale University Press
ISBN: 9780300221572
Category : ART
Languages : en
Pages : 0
Book Description
Spreading Canvas takes a close look at the tradition of marine painting that flourished in 18th-century Britain. Drawing primarily on the extensive collections of the Yale Center for British Art and the National Maritime Museum in Greenwich, London, this publication shows how the genre corresponded with Britain's growing imperial power and celebrated its increasing military presence on the seas, representing the subject matter in a way that was both documentary and sublime. Works by leading purveyors of the style, including Peter Monamy, Samuel Scott, Dominic Serres, and Nicholas Pocock, are featured alongside sketches, letters, and other ephemera that help frame the political and geographic significance of these inspiring views, while also establishing the painters' relationships to concurrent metropolitan art cultures. This survey, featuring a wealth of beautifully reproduced images, demonstrates marine painting's overarching relevance to British culture of the era. Published in association with the Yale Center for British Art Exhibition Schedule: Yale Center for British Art, New Haven (09/15/16-12/04/16)
Paper and Light
Author: Julian Brooks
Publisher: Getty Publications
ISBN: 1606069306
Category : Art
Languages : en
Pages : 118
Book Description
This volume looks at the techniques and materials that artists have utilized since the Renaissance to create spectacular light effects in drawings. The treatment of light and shadow is one of the building blocks of drawing. From techniques such as highlights and reserves, to material selection and the creation of translucent tracing paper, to the use of light as a medium for viewing artworks, artists for hundreds of years have found innovative and dazzling ways to create light on a sheet of paper. This publication examines the central relationship between paper and light in the world of drawings in western European art from the Renaissance to the twentieth century. Focusing on drawings from the collection of the J. Paul Getty Museum, as well as works from the British Museum, Musée du Louvre, and others, and featuring masterful works by such artists as Parmigianino, Leonardo da Vinci, Nicolas Poussin, Odilon Redon, Edgar Degas, and Georges Seurat, Paper and Light will entice readers to look longer and more closely at drawings, deriving an even deeper appreciation for the skill and labor that went into them.
Publisher: Getty Publications
ISBN: 1606069306
Category : Art
Languages : en
Pages : 118
Book Description
This volume looks at the techniques and materials that artists have utilized since the Renaissance to create spectacular light effects in drawings. The treatment of light and shadow is one of the building blocks of drawing. From techniques such as highlights and reserves, to material selection and the creation of translucent tracing paper, to the use of light as a medium for viewing artworks, artists for hundreds of years have found innovative and dazzling ways to create light on a sheet of paper. This publication examines the central relationship between paper and light in the world of drawings in western European art from the Renaissance to the twentieth century. Focusing on drawings from the collection of the J. Paul Getty Museum, as well as works from the British Museum, Musée du Louvre, and others, and featuring masterful works by such artists as Parmigianino, Leonardo da Vinci, Nicolas Poussin, Odilon Redon, Edgar Degas, and Georges Seurat, Paper and Light will entice readers to look longer and more closely at drawings, deriving an even deeper appreciation for the skill and labor that went into them.
Holbein
Author: Hans Holbein
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 182
Book Description
Discusses the life and work of Hans Holbein the Younger, the artist most responsible for preserving in his portraits the court of King Henry VIII.
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 182
Book Description
Discusses the life and work of Hans Holbein the Younger, the artist most responsible for preserving in his portraits the court of King Henry VIII.
Pastel Portraits
Author: Katharine Baetjer
Publisher: Metropolitan Museum of Art
ISBN: 1588394239
Category : Pastel drawing
Languages : en
Pages : 58
Book Description
Publisher: Metropolitan Museum of Art
ISBN: 1588394239
Category : Pastel drawing
Languages : en
Pages : 58
Book Description
Trading Paintings and Painters' Materials
Author: Anne Haack Christensen
Publisher:
ISBN: 9781909492714
Category : Artists' materials industry
Languages : en
Pages : 170
Book Description
The papers in this volume were presented at the CATS international technical art history conference Trading Paintings and Painters' Materials 1550-1800 which explored international markets for paintings and artists' materials in the early modern period and their implications for artistic production. Questions central to these papers include: did preferences exist for artists' materials and paintings from specific geographical areas in particular places and if so why? How did the import of painting materials and artworks impact local production, connoisseurship and art theory? In what conditions were these artists' materials and finished artworks produced and traded in early modern Europe and beyond? The lavishly illustrated contributions in this volume deal with the above questions and shed light on different trades, products, countries and timeframes by combining a large variety of methods and sources, including visual analyses, written sources, pigment analyses and archaeological excavations. This fourth CATS Proceedings will be of interest to scholars and students, museum professionals, curators, conservators, art historians and conservation scientists.
Publisher:
ISBN: 9781909492714
Category : Artists' materials industry
Languages : en
Pages : 170
Book Description
The papers in this volume were presented at the CATS international technical art history conference Trading Paintings and Painters' Materials 1550-1800 which explored international markets for paintings and artists' materials in the early modern period and their implications for artistic production. Questions central to these papers include: did preferences exist for artists' materials and paintings from specific geographical areas in particular places and if so why? How did the import of painting materials and artworks impact local production, connoisseurship and art theory? In what conditions were these artists' materials and finished artworks produced and traded in early modern Europe and beyond? The lavishly illustrated contributions in this volume deal with the above questions and shed light on different trades, products, countries and timeframes by combining a large variety of methods and sources, including visual analyses, written sources, pigment analyses and archaeological excavations. This fourth CATS Proceedings will be of interest to scholars and students, museum professionals, curators, conservators, art historians and conservation scientists.
Ad vivum?
Author: Thomas Balfe
Publisher: BRILL
ISBN: 9004393994
Category : Art
Languages : en
Pages : 377
Book Description
The term ad vivum and its cognates al vivo, au vif, nach dem Leben and naer het leven have been applied since the thirteenth century to depictions designated as from, to or after (the) life. This book explores the issues raised by this vocabulary and related terminology with reference to visual materials produced and used in Europe before 1800, including portraiture, botanical, zoological, medical and topographical images, images of novel and newly discovered phenomena, and likenesses created through direct contact with the object being depicted. The designation ad vivum was not restricted to depictions made directly after the living model, and was often used to advertise the claim of an image to be a faithful likeness or a bearer of reliable information. Viewed as an assertion of accuracy or truth, ad vivum raises a number of fundamental questions in the area of early modern epistemology – questions about the value and prestige of visual and/or physical contiguity between image and original, about the kinds of information which were thought important and dependably transmissible in material form, and about the roles of the artist in that transmission. The recent interest of historians of early modern art in how value and meaning are produced and reproduced by visual materials which do not conform to the definition of art as unique invention, and of historians of science and of art in the visualisation of knowledge, has placed the questions surrounding ad vivum at the centre of their common concerns. Contributors: Thomas Balfe, José Beltrán, Carla Benzan, Eleanor Chan, Robert Felfe, Mechthild Fend, Sachiko Kusukawa, Pieter Martens, Richard Mulholland, Noa Turel, Joanna Woodall, and Daan Van Heesch.
Publisher: BRILL
ISBN: 9004393994
Category : Art
Languages : en
Pages : 377
Book Description
The term ad vivum and its cognates al vivo, au vif, nach dem Leben and naer het leven have been applied since the thirteenth century to depictions designated as from, to or after (the) life. This book explores the issues raised by this vocabulary and related terminology with reference to visual materials produced and used in Europe before 1800, including portraiture, botanical, zoological, medical and topographical images, images of novel and newly discovered phenomena, and likenesses created through direct contact with the object being depicted. The designation ad vivum was not restricted to depictions made directly after the living model, and was often used to advertise the claim of an image to be a faithful likeness or a bearer of reliable information. Viewed as an assertion of accuracy or truth, ad vivum raises a number of fundamental questions in the area of early modern epistemology – questions about the value and prestige of visual and/or physical contiguity between image and original, about the kinds of information which were thought important and dependably transmissible in material form, and about the roles of the artist in that transmission. The recent interest of historians of early modern art in how value and meaning are produced and reproduced by visual materials which do not conform to the definition of art as unique invention, and of historians of science and of art in the visualisation of knowledge, has placed the questions surrounding ad vivum at the centre of their common concerns. Contributors: Thomas Balfe, José Beltrán, Carla Benzan, Eleanor Chan, Robert Felfe, Mechthild Fend, Sachiko Kusukawa, Pieter Martens, Richard Mulholland, Noa Turel, Joanna Woodall, and Daan Van Heesch.