Historical Painting Techniques, Materials, and Studio Practice

8. It is not clear when people first started keeping prepared paint in small pouches
   made of pig's bladder. The pouches are occasionally illustrated in eighteenth­
   century sources. According to R. G. Gettens and G. L. Stout (1942. Painting
   Materials: A Short Encyclopedia. New York, 318), the tube came into widespread
   use around 1840.


9. A description of the evolution of the palette can be fo und in Gettens and Stout,
   op. cit. (note 8), 299-304.


10. Colyn de Coter, St. Luke Painting the Madonna, Vievre, Alliers (near Moulins),
    ca. 1490; de Meester van het Augustiner Altaar, St. Luke Painting the Madonna,
    Germanisches Nationalmuseum Niirnberg, 1487; Nicolaus Manuel Deutsch, St.
    Luke Painting the Madonna, Bern Kunstmuseum, 1514-1515; Unknown Flemish
    Master, St. Luke Painting the Madonna, the Grimani Brevarium, fol. 781 v, Bibli­
    otheca Marciana, Venice.


11. Hinrik Bornemann, St. Luke Painting the Madonna, Hamburg,Jakobikerk, 1499;
    School of Quinten Massys, St. Luke Painting the Madonna, National Gallery, Lon­
    don; Derick Baegert, St. Luke Painting the Madonna, Landesmuseum, Munster,


12. Belonging to the same category of palette are: Jacob Cornelisz van Oostz­
    anen, Self Portrait of the Artist Working on a Portrait of his Wife, Museum of Art,
    Toledo, ca. 1530; Catharina van Hemessen, Self Portrait, Offentliche Kunstsa­
    mmlung Basel, ca. 1548.


13. Pierre Lebrun, Recueil des essaies des merveilles de la Peinture. In Original Trea­
    tises on the Art of Painting, Vol. II. 1967. Ed. M. P. Merrifield. New York, 770-


14. 
    


15. Quellen fur Maltechnik wahrend der Renaissance und deren Folgezeit (X VI-XVII Jahr-
    hundert), Vol. IV 1901. Ed. E. Berger. Munich, 288-89.


16. Beurs, W 1698. De Groote Waereld in het Kleen geschildert. Amsterdam.


17. Beurs, op. cit., 165-66.


18. Beurs, op. cit., 184-87.


19. Beurs, op. cit., 186.


20. This standardization of the working properties of various colors of paint is
    achieved by the addition of fillers such as bentonites or aluminium hydrates, or
    by the use of alternative pigments. Naples yellow, for example, is substituted by
    a mixture of titanium white and cadmium yellow.


21. See for example the specifications given for the various pigments in a section
    about oil paint in De volmaakte Verwer, 1770. Amsterdam, appendix.


22. van de Wetering, E. 1977. De jonge Rembrandt aan het werk. In Oud Holland
    91:7-65, especially 20-2. See also van de Wetering, E. 1982. In A corpus of Rem­
    brandt Paintings, Vol. I. J. Bruyn, B. Haak, S. H. Levie, P .J. J. van Thiel, E. van de
    Wetering. Den Haag, 25-31.


23. Ainsworth, M. W et al. 1982. Art and Autoradiography: Insights into the Genesis if
    Paintings by Rembrandt, Van Dijck and Vermeer, New York. For activities in the
    autoradiographic area by the Gemalde-Galerie and the Hahn-Meitner-Instituut
    fUr Kernforschung in Berlin, see MaltechniklRestauro I (1987):21 et seq.


24. Taylor, P. 1992. Harmony and Illusion in Golden Age Dutch Art Theory: The
    Concept of Houding. In Journal if Warburg and Courtauld Institutes. (LV):210-32.


25. Stumpel, J. 1990. The Province of Painting. Theories if Italian Renaissance Art.
    Utrecht, 131-174 (also published in: Simiolus 1989, 19 [3/4]:219-43).


26. Goeree, W 1670. Inleyding tot d'Algemeene Teykenkonst. (First printing, 1668.)
    Middelburg, 219-43.


27. c.f. the article by C. M. Groen in the still unpublished publication in connection
    with the restoration of the late Rembrandts in the Rijksmuseum, Amsterdam.


28. "Je mene comprenez un peu, toute ma toile a la fois, d' ensemble." Gasquet, J.


29. Cezanne. Paris, 89.

van de Wetering 203