Historical Painting Techniques, Materials, and Studio Practice

Abstract

Methods of art historical research,
painting expertise, and scientific re­
search can contribute to the detailed
study of painting techniques. Con­
versely, the knowledge of painting
techniques could support art histori­
cal research. The need for collabora­
tion between individual disciplines
during all stages of research is
strongly stressed, from the initial for­
mulation of working questions and
hypotheses to final conclusions about
the techniques of an artist.

6

An Integrated Approach fo r the Study

of Painting Te chniques

Sylvana Barrett and Dusan C. Stulik*

The Getty Conservation Institute

4503 Glencoe Avenue

Marina del Rey, California 90292

USA

Introduction

The study of artists' techniques in general and the study of an individual

artist's techniques in particular are important fo r several reasons:

(a) Art historians can use detailed knowledge of an artist's technique and its

developmental evolution throughout the artist's career in the authentication

process. This information can also aid in the establishment of a proper chro­

nology fo r the known works of a given artist.

(b) Artists of various historical periods were able to achieve specific visual

effects by the use of special artists' materials or by methodical application of

proven painting techniques. Because detailed documentation is seldom avail­

able today to help artists learn the steps needed to re-create a given visual

effect, artists must rely on the results of systematic art research to learn old

master techniques.

(c) Museum conservators, in order to ensure a safe working strategy when

planning a conservation or restoration treatment, rely on specific information

about pigments, binding media, and materials, including those of earlier res­

torations, as well as detailed knowledge of the structural arrangements of these

materials.

The art historian and art research

The role of the art historian in the realm of art research is critical. It is the

art historian who must set the fo undation, into which the information gath­

ered by individual researchers of a painting-technique research team is or­

ganized, fo r final interpretation. In the study of painting techniques, two tools

used by art historians are very important: connoisseurship and archival re­

search.

Connoisseurship. Beyond establishment of individual and historical chronolo­

gies, connoisseurship itself-the expert knowledge of style and technique that

the art historian develops through the course of a career-is of immense help

in the research of artists' techniques. This keen sense of discrimination can

be used to identify idiosyncrasies particular to a given artist's work. When

drawn from works of undisputed provenance, the art historian can use the

idiosyncrasies to establish a signature of style, materials, and techniques fo r

any given artist. This "signature style" is critical fo r researchers in all the

related disciplines. The signature style fo r a particular artist establishes the

standard of measure against which all data can be judged.

Archival research. The study of primary documents-such as municipal, guild,

or financial records and chronicles in which artists' names can be directly

located-provides crucial information about artists' lives, training, professional

and social standing, and other socio-economic fa ctors that influenced the

development of their working methods and personal painting styles. When

an artist's notes, letters, books, diaries, and travel journals are available, the

study of these materials often provides important information leading to

• Author to whom correspondence should be addressed.

Historical Painting Techniques, Materials, and Studio Practice