The Structural Conservation of Panel Paintings
PROCEEDINGS PR OCEEDINGS The Getty Conservation Institute The Getty Conservation Institute Los Angeles The Str uctur al Conser v ...
The Structural Conservation of Panel Paintings Edited by Kathleen Dardes and Andrea Rothe TGCI LA ...
Front cover: Alessandro Allori, The Abduction of Proserpine,1570. Detail. Oil on panel, 228.5 3 348 cm. The J. Paul Getty Museum ...
Miguel Angel Corzo vii Foreword John Walsh Kathleen Dardes ix Preface Andrea Rothe David Bomford xiii Introduction: Keynote Addr ...
Jørgen Wadum 149 Historical Overview of Panel-Making Techniques in the Northern Countries Philip Walker 178 The Making of Panels ...
Jean-Albert Glatigny 364 Backings of Painted Panels Reinforcement and Constraint Simon Bobak 371 A Flexible Unattached Auxiliary ...
vii I the Getty Conservation Institute and the J. Paul Getty Museum sponsored an international symposium, “The Struct ...
I representing the aesthetic and intellectual sensibilities oftheir creators, the world’s great paintings serve as r ...
the Getty Conservation Institute on how to bring to the attention of a wider audience the various working philosophies and metho ...
New York; David Bomford of the National Gallery, London; and Ian McClure of the Hamilton Kerr Institute, Cambridge, are also ref ...
T on the conservation of panel paintings, organized by the J. Paul Getty Museum and the Getty Conservation Institut ...
The Greenwich conference was a landmark. It changed attitudes and set in motion a whole new rationalization for the treatment of ...
Wood is, of course, an ideal material for movable paintings and altarpieces. It is strong, relatively light, and self-supporting ...
in Arezzo, in which everything, from the subject to the materials and the structure, is precisely detailed. Other documents give ...
mined subsequent aesthetic directions. Two such cases are the refined use of drying oils for painting in early-fifteenth-century ...
Rubens and Rembrandt, for example, were equally versatile on wood and canvas, although they operated within a tradition that had ...
sketches, was on wood panel. He seems to have liked the smooth surfaces of panels prepared with white grounds. Only once in surv ...
on the painting? What limits of tolerance have already been breached? A great mistake of past generations of restorers was to as ...
Palmezzano that passed through his hands. My colleague Jill Dunkerton, who uncovered this diverting little piece of misinformati ...
Panels are not simply the convenient carriers of the painter’s invention. Panels matterin themselves, in the same way that canva ...
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