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Ground Layers in European Painting 1550-1750 by Anne Haack Christensen,Angela Jager,Joyce H. Townsend Pdf
Most of the papers in this volume were presented at the CATS international technical art history conference in June 2019 titled Mobility Creates Masters - Discovering Artists' Grounds 1550-1700, which explored the introduction of, and change to, the colored ground layers in European paintings form the Early Modern period. The title of the conference stemmed from the desire to instigate new research projects within the topic of the influence of artists' mobility on material choices and techniques related to the preparation of paintings. As well as contributions presented at the conference, this volume includes additional papers from recent research exploring the same topic. The volume begins with several studies on the documentation of grounds. The contributions are then arranged according to the country in which the painter was active, from southern Europe moving northwards. The lavishly illustrated contributions in this volume deal with the above questions and shed light on different methods of preparing painting supports, the purpose of preparatory layers, materials used in different countries and influence of shifts in fashion or availability of materials on ground layers. This fifth CATS Proceedings will be of interest to scholars and students, and museum professionals including curators, conservators, art historians and conservation scientists.
Steven A. Nash,Lynn Federle Orr,California Palace of the Legion of Honor,Marion C. Stewart
Author : Steven A. Nash,Lynn Federle Orr,California Palace of the Legion of Honor,Marion C. Stewart Publisher : Hudson Hills Page : 158 pages File Size : 53,5 Mb Release : 1999 Category : Architecture ISBN : 1555951821
Masterworks of European Painting in the California Palace of the Legion of Honor by Steven A. Nash,Lynn Federle Orr,California Palace of the Legion of Honor,Marion C. Stewart Pdf
This beautiful volume presents colorplates and essays covering 100 masterpieces of European art from one of America's finest collections, housed in the California Palace of the Legion of Honor.
20 Centuries of Great European Painting by Hiltgart Leu Keller,Bodo Cichy Pdf
Introduction -- This collection does not aim to be a complete academic course in the history of art; its purpose is rather to introduce the reader to the language of painting by means of European masterpieces of two thousand years, and to demonstrate the developments and changes.
Masterpieces of European Painting by Christiane Stukenbrock,Barbara Töpper Pdf
Pathfinders, outsiders, revivers and traditionalists--this comprehensive illustrated guide presents the most important personalities of European art in alphabetical order. More than 1,000 pictures serve as an invitation to discover the major works of Western painting traditions of the 13th to 19th centuries. The artists' biographies, their most important works, and their relevance to the development of European painting are presented in compact texts.
Edgar Peters Bowron,Museum of Fine Arts, Houston,Mary G. Morton
Author : Edgar Peters Bowron,Museum of Fine Arts, Houston,Mary G. Morton Publisher : Princeton University Press with Museum of Fine Arts Houston Page : 235 pages File Size : 46,8 Mb Release : 2000-01-01 Category : Painting ISBN : 0890900930
Masterworks of European Painting in the Museum of Fine Arts, Houston by Edgar Peters Bowron,Museum of Fine Arts, Houston,Mary G. Morton Pdf
"Published to coincide with the opening of the Audrey Jones Beck building in March of 2000, this illustrated catalogue - the first single volume dedicated to this collection - features one hundred of the most important European paintings in the Museum of Fine Arts, Houston. The works, which range in date from the early Renaissance to the beginning of the twentieth century, are all featured as full-page color plates. The accompanying text is accessible, providing insights into the artists' lives and explaining - in general terms - the stylistic evolution of the history of European painting. Furthermore, new research on unpublished works has been incorporated into the entries." "With beautiful reproductions and informative commentary, Masterworks of European Painting will be of great appeal to art lovers and scholars alike."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Historical Painting Techniques, Materials, and Studio Practice by Arie Wallert,Erma Hermens,Marja Peek Pdf
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.
Trading Paintings and Painters' Materials by Anne Haack Christensen,Angela Jager Pdf
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.
Excerpt from The Palace of Apries: Memphis II 1. After the close of the excavations at Qurneh our camp was moved to Memphis to continue the work of the previous season, recorded in Memphis I. Mr. Wainwright left Qurneh three weeks before me, in order to study at the Cairo museum, and to begin the arrangements at Memphis. I went down on 10 February, and Mr. Mackay followed twelve days later after packing. I left on 21 April and Mr. Wainwright soon after, Mr. Mackay staying on till near the middle of May. The greater part of our work was spent upon the large mound at the north end of Memphis, which we found to be the site of the royal palace of Apries. The general appearance of it is a long ridge about two hundred feet wide, and four hundred feet from the north end up to some immense walled enclosures of brick at the south end. The view of the whole, from the east, is in PI. X, and the plan of the palace in PI. I. The plan was entirely measured by taping, from a sighted line laid out along the wall east of the new broadway, with diagonal ties across the great court to fix the squareness of the whole. Plumb-lines were constantly used for sighting and measuring. The clearance was over two acres of ground, to a depth of ten or fifteen feet in most parts, the largest clearance made this year in any site. Last season I had seen that there were walls remaining on the top of the mound, and therefore we ranked a row of workmen along each side of the ridge, and began steadily clearing inwards until they met in the middle. 2. The walls are all of black mud brick, with stone linings around the lower part of the halls, stone floors to the halls, and stone doorways and stairways. The walls are from 10 to 22 feet in thickness, generally being about 14 feet. They vary in age, some being patched on the top with later brickwork, some being built up from the floor of Apries, while many extend down far into the mound, covered with plaster, and evidently have served for previous palaces. It may be said that the level of Apries is inserted some way up the older walls, with some repairs, and some new construction added. The disentanglement of the history of construction, and of the changes of levels, will need careful work in future; but for the present we only deal with the level of Apries. The history of these changes seems clear. As a dynasty decayed, the roofs were not kept in good state, the winter rains ran into the walls, large masses fell off the tops of the walls after a heavy storm, some roofs fell in; then when a new order of things arose, the damaged parts were taken down, the floors were all levelled up with the rubbish, the sound walls were trimmed and patched, new walls were built where the decay was beyond repair, and the whole palace was restored at a higher level. Thus about seventy feet depth of artificial construction stands between the primitive ground level and the floor of Apries. Much of the north end has been successively extended by building up a cellular substructure of brick shafts domed over, like the platforms of the forts of Naukratis and Daphnae; but the rest of the site shews earlier courts in the lower levels. 3. The general scheme of the building was that it occupied the north-west corner of the great fortified camp of about thirty acres, at the north end of the ruins of Memphis. Along the west side of the camp was a line of three great enclosures, and the palace-fortress mound. The enclosures to the south are ruined and built over; that next to the palace has been cleared out by the sebakhin for earth, leaving a square of massive walls standing about forty feet high; all the interior of this is empty, and we cannot know what it contained before it was destroyed. Through this great square there was a roadway, with a wide gate on the south, and another on the north opposite to it. This latter is shewn on the plan, PI. I, by two white lines across the thick wall at the foot of the plate. T.
The Structural Conservation of Panel Paintings by Kathleen Dardes,Andrea Rothe Pdf
This volume presents the proceedings of an international symposium organized by the Getty Conservation Institute and the J. Paul Getty Museum. The first conference of its kind in twenty years, the symposium assembled an international group of conservators of painted panels, and gave them the opportunity to discuss their philosophies and share their work methods. Illustrated in color throughout, this volume presents thirty-one papers grouped into four topic areas: Wood Science and Technology, History of Panel-Manufacturing Techniques, History of the Structural Conservation of Panel Paintings, and Current Approaches to the Structural Conservation of Panel Paintings.
Anonymous Art at Auction by Anne-Sophie V. Radermecker Pdf
In Anonymous Art at Auction, Anne-Sophie V. Radermecker takes the opposing view of the superstar economy by examining contemporary sales of Early Flemish paintings with unknown authorship and the effects of various substitutes for real names on price formation.
Luxury Arts of the Renaissance by Marina Belozerskaya Pdf
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
