Historical Painting Techniques, Materials, and Studio Practice

The discussions in this volume present historical painting techniques

from a variety of professional perspectives. With its wide range of topics

and approaches to the study of historical painting techniques, this publi­

cation is presented in the hope that it will provide an impetus for further

studies that involve material science, art history, conservation, archaeo­

metry, and the history of science. We also hope it will be one in a series

of such interdisciplinary and collaborative volumes.

In addition to thanking all the colleagues at our institutions who helped

us with advice and expertise, we also would like to acknowledge the

invaluable work and support of several individuals in particular. Miguel

Angel Corzo, director of the Getty Conservation Institute, immediately

supported the idea to publish the presentations of the symposium and

generously provided his time and support in the production of the present

volume. Agnes Grafin Ballestrem, director of the Central Research Lab­

oratory for Objects of Art and Science in Amsterdam, and A. W. A. Bos­

chloo of the Art History Institute of the University of Leiden supported

the entire project from its initial stages and advised us during the editorial

process. Corinne Lightweaver and Jo Hill, independent editorial consul­

tants, carried out invaluable work on the manuscripts, assisted by Joy Hart­

nett. In the preparation of these preprints for publication, we also wish to

thank Dinah Berland, publications coordinator, the Getty Conservation

Institute.

Arie Wallert

The Getty Conservation Institute

Erma Hermens

Art History Institute of the University of Leiden

Marya Peek

Central Research Laboratory for Objects of Art and Science, Amsterdam

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