Historical Painting Techniques, Materials, and Studio Practice

Contents

vii Foreword

viii Preface

1 Leslie A. Carlyle, Beyond a Collection of Data: What We Can

Learn from Documentary Sources on Artists' Materials and

Techniques

6 Sylvana Barrett, Dusan C. Stulik, An Integrated Approach for the

Study of Painting Techniques

12 Helen Glanville, Varnish, Grounds, Viewing Distance, and

Lighting: Some Notes on Seventeenth-Century Italian Painting

Technique

20 Ann Massing, From Books of Secrets to Encylopedias: Painting

Techniques in France between 1600 and 1800

30 Sally A. Woodcock, The Roberson Archive: Content and

Significance

38 Arie Wallert, Libro Secondo de Diversi Colori e Sise da Mettere a

Oro: A Fifteenth-Century Technical Treatise on ManUSCript

Illumination

48 Erma Hermens, A Seventeenth-Century Italian Treatise on

Miniature Painting and Its Author(s)

(^58) Beate Federspiel, Questions about Medieval Gesso Grounds
65 Renate Woudhuysen-Keller, Aspects of Painting Technique in the
Use of Verdigris and Copper Resinate
70 Josephine A. Darrah, Connections and Coincidences: Three
Pigments
78 Kate I. Duffy, Jacki A. Elgar, An Investigation of Palette and Color
Notations Used to Create a Set of Tibetan Thangkas
85 Zuzana Skalova, New Evidence for the Medieval Production of
Icons in the Nile Valley
91 Helen C. Howard, Techniques of the Romanesque and Gothic Wall
Paintings in the Holy Sepulchre Chapel, Winchester Cathedral
105 Eddie Sinclair, The Polychromy of Exeter and Salisbury
Cathedrals: A Preliminary Comparison
111 Andrea Rothe, Andrea Mantegna's Adoration of the Magi
117 Ulrich Birkmaier, Arie Wallert, Andrea Rothe, Technical
Examinations of Titian's Venus and Adonis: A Note on Early
Italian Oil Painting Technique
127 Catherine A. Metzger, Barbara H. Berrie, Gerard David's St.
Anne Altarpiece: Evidence for Workshop Participation
v