Historical Painting Techniques, Materials, and Studio Practice

Kennedy of the Ulster Museum, Viola Pemberton-Piggott of the Royal Collection
and Helen Valentine of the Royal Academy, who arranged the examination of the
Turners in their collections, Anna Southall and Gillian Osmond, who pointed out
interesting nineteenth-century pigment samples, and Stephen Hackney, Tom Learner,
Rica Jones, and Anna Southall for editing.

Notes

1. Townsend,]. 1993. Turner's Painting Techniques. London: Tate Gallery. Informa­
   tion on Turner is published here, except where stated otherwise.


2. Townsend,]. H. n.d. Turner's use of materials, and implications for conservation.
   In Turner's Paintings Techniques in Context. Ed.]. H. Townsend, et al. London:
   UKIC. Forthcoming.


3. The Diary of joseph Farington. 1978. Eds. K. Garlick and A. Maclntyre. London:
   Yale University Press, Vol. I (1799), 273.


4. Jones, R. 1991. Notes for conservators on Wright of Derby's painting techniques.
   The Conservator (15):13-32.


5. Cove, S. 1991. Constable's oil painting materials and techniques. In Constable.
   Eds. L. Parris and 1. Fleming-Williams. London: Tate Gallery, 493-529.


6. These Whistler canvases are in the Birnie Philip Gift, Hunterian Art Gallery,
   University of Glasgow.


7. Townsend,]. H. 1994. The materials of]. M. W. Turner, 2: primings and supports.
   Studies in Conservation (39):145-53.


8. Ca rlyle, L. A., and A. Southall. 1993. No short mechanic road to fame: the
   implications of certain artists' materials for the durability of British painting:
   1770-1840. In Robert Vernon's Gift: British Artfor the Nation 18 47. London: Tate
   Gallery, 21-26.


9. Townsend, n.d., op. cit.


10. Carlyle and Southall, op. cit.


11. Townsend, n.d., op. cit.


12. Rainford, D., personal communication.


13. Hackney, S. 1994. Colour and tone in Whistler's nocturnes and harmonies 1871-


14. The Burlington Magazine CXXXVI (10):695-99.


15. Some identifications were made by Rica Jones, Tate Gallery.


16. Welsh, F. S. 1988. Particle characteristics of Prussian blue in an historical oil paint.
    journal of the American Institute for Conservation (27):55 -63.


17. Dubois, H. 1992. Aspects if Sir joshua Reynolds' Painting Technique. Unpublished
    typescript. Cambridge: Hamilton Kerr Institute.


18. Townsend, n.d., op. cit.


19. Cove, op. cit.


20. Ibid.


21. Sheldon, E., personal communication. Paintings are privately owned.


22. Townsend,]. H. 1993. The materials of]. M. W Turner, 1: Pigments. Studies in
    Conservation (38) :231-53.


23. See note 6.


24. Jones, op. cit.


25. Townsend, ]. H., L. Carlyle, S. Woodcock, and N. Khandekar. Unpublished re­
    search.

Townsend^185