Historical Painting Techniques, Materials, and Studio Practice

(Steven Felgate) #1

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  1. Brinkman, P W. E, L. Kockaert, L. Maes, L. Masschelein-Kleiner, E Robaszynski,
    and E. Thielen. 19 84. Het lam Godsretabel van van Eyck. Een heronderzoek
    naar de materialen en schildermethoden. 1. De plamuur, de isolatie!aag, de tek­
    ening en de grondtonen. Bulletin Institut Royale Patrimoine Artistic-KIK (20):137-
    66.

  2. Brinkman, P W. E, L. Kockaert, L. Maes, E. M. M. Thielen, and J. Wouters. 19 88-
    19 89. Het lam Godsretabe! van van Eyck een Heronderzoek naar de materialen
    en schildermethoden. 2. De hoofdkleuren blauw, groen, gee! en rood. Bulletin
    Institut Royale Patrimoine Artistic-KIK (20):26-49. See also Coremans, et al., op.
    cit. and Brinkman, et a]., 19 84, op. cit.

  3. A lEOL 6300 scanning electron microscope and a Link energy dispersive spec­
    trometer with the Super ATW Si(Li) detector were used. Analysis of a green
    particle in the bottom layer of paint in the cloth of honor showed it was com­
    posed of copper, chlorine, and oxygen.

  4. Butler, M. H.^19 76. A technical investigation of the materials and technique used
    in two Flemish paintings. Museum Studies (The Art Institute of Chicago) (8): 59-



  5. Wyld, M., A. Roy, and A. Smith. 19 79. Gerard David's "The Virgin and Child
    with Saints and a Donor." National Callery Technical Bulletin, Vol. 3. London:
    National Gallery, 5-65.

  6. Brinkman, 1988 -1 989, op. cit. See also Coremans, et al., op. cit. and Brinkman,
    et al ., 19 84, op. cit.


Historical Painting Techniques, Materials, and Studio Practice
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