V?r oppmerksomme p? at det kan komme til ? bli noen endringer i pensumet. F?lg med p? denne siden i begynnelsen av semesteret.
Forelesning 1
Introduction – The Structure of Paintings (Thierry Ford)
Barret, S. and Stulik, D., 'An Integrated Approach for the Study of Painting Techniques', in : Historical Painting Techniques, Materials, and Studio Practice. Preprints of a Symposium, University of Leiden, The Netherlands, 26-29 June 1995, , eds. A. Wallert, E. Hermens and M. Peek, The Getty Conservation Institute, Los Angeles (1995) 6-11 (5s).
Bomford, David; Dunkerton, Jill; Gordon, Dillian and Roy, Ashok, : Art in the Making: Italian Painting Before 1400, London (1989) 17-26 (7s).
Newman, R., 'Chapter 3: Organic Binders', in The Science of Paintings, eds. S. Taft and J.W. Mayer, Springer-Verlag, New York (2000) 26-41. [Definitions of the various materials used as binding media by painters] (16s)
Orna, Mary Virginia, and Madeline P. Goodstein, Chemistry and Artists Colors, 2nd ed., College of New Rochelle, New Rochelle (1993) 259-61, 281-6 (section on pigments). [Introduction to commonly used pigments] (9s)
Villers, Caroline, ‘Artists’ canvases. A history’, Preprints of the ICOM Committee for Conservation, 6th triennial meeting, Ottawa, ICOM, Ottawa (1981) 81/2/1:1-81/2/1:12. (11s)
Mora, Paolo; Mora, Laura, and Philippot, Paul, Conservation of Wallpaintings, Butterworths, London (1984) 11-16. [Introduction to wallpainting technique] [7]
Uzielli, Luca, 'Historical Overview of Panel-Making Techniques in Central Italy', In: The Structural Conservation of Panel Paintings. Proceedings of a symposium at the J. Paul Getty Museum, 24-28 April, 1995, eds. K. Dardes and A. Rothe, The Getty Conservation Institute, Los Angeles (1998) 110-135. [20]
Wadum, J?rgen, 'Historical Overview of Panel-Making Techniques in the Northern Countries', In: The Structural Conservation of Panel Paintings. Proceedings of a symposium at the J. Paul Getty Museum, 24-28 April, 1995, eds. K. Dardes and A. Rothe, The Getty Conservation Institute, Los Angeles (1998) 149-177. [20]
[113]
Valgfri ekstralitteratur:
ICOM Commission for the Care of Paintings, ‘Fabric Paint Supports’, Museum 13/3 (1960) 137-39.
Landi, S., The Textile Conservator’s Manual, 2nd ed., Butterworth-Heinemann, Oxford (1992) 8-12, 21-22. [A reference for basic weaves and fibers used as painting supports]
Stulik, Dusan, 'Chapter 2: Paint', In: The Science of Paintings, eds. S. Taft and J.W. Mayer, Springer-Verlag, New York (2000) 12-25. [Introduction to paint]
Forelesning 2
The Application of Scientific Analysis to the Study of Painting Techniques (Thierry Ford)
Blühm, Andreas, and Lippincott, Louise, Light! The Industrial Age 1750-1900, Art & Science, Technology & Science, Van Gogh Museum, Amsterdam/Carnegie Museum of Art, Pittsburgh, Thames & Hudson (2000) 16-19 (science), 80 (the Argand lamp), 118-119 (photography), 180 (the light bulb), 184 (art under arc light). [A review of some of the scientific advances that affected the study of art] [8]
Martin, James S., ‘Microscopic Examination and Analysis of the Structure and Composition of Paint and Varnish Layers’, In: Painted Wood: History and Conservation. Proceedings of a Symposium, Williamsburg, Virginia, 11-14 November 1994, eds. V. Dorge and F. C. Howlett, The Getty Conservation Institute, Los Angeles (1998) 64-72. [Basic introduction to analysis of paint and varnishes] [9]
Kunholm, Peter Ian, 'Appendix L: Dendrochronology (Tree-Ring Dating) of Panel Paintings', In: The Science of Paintings, eds. S. Taft and J.W. Mayer, Springer-Verlag, New York (2000) 206-215. [Introduction to the technique of dendrochronology] [10]
Nadolny, Jilleen, ‘The first century of published scientific analyses of the materials of historical painting and polychromy, circa 1780-1880’, In: Reviews in Conservation 4 (2003) 39-51. [How technical study of paintings first developed] [5]
Newman, Richard, ‘Organic Binders: Analytical Procedures’, In: The Science of Paintings, eds. S. Taft and J.W. Mayer, Springer-Verlag, New York (2000) 168-179. [Basic introduction to the major techniques used for analysis of organic materials in paintings] [9]
Pinna, Daniela, Galeotti, Monica and Mazzeo, Rocco, Scientific Examination for the Investigation of Paintings. A Handbook for Conservator-restorers, Centro Di edizioni, Firenze (2009). [Recent update on examination methods. Please select sections according to the materials and methods mentioned during the lecture].
Taylor, John M. and Wainwright, Ian N.M., ‘Scientific Examination of Paintings: Potentials and Limitations’, In: Shared Responsibility: Proceedings of a Seminar for Curators and Conservators, National Gallery of Canada, Ottawa (1989) 69-78. [Some examples of the sort of information gained by technical examination] [7]
Wainwright, Ian N.M., ‘Examination of Paintings by Physical and Chemical Methods’, In: Shared Responsibility: Proceedings of a Seminar for Curators and Conservators: Co-hosted by the National Gallery of Canada and the Canadian Conservation Institute. National Gallery of Canada, Ottawa, 26, 27 and 28 October 1989, eds. B.A. Ramsay and I.N.M. Wainwright, National Gallery of Canada, Ottawa (1990) 79-102. [Basic introduction to some of the most commonly used analytical methods used in the examination of paintings] [11]
Forelesning 3
Cave Paintings (Terje Norsted)
Clottes, Jean., "World Rock Art". The Getty Conservation Institute, Los Angeles, 140 s.
Norsted, T., "Hulemalerier i Norge. Egenart, kontekst, mening og konservering. I: Egenberg, Skar, Swensen (red.) "Kultur - minner og milj?er. NIKU Tema 18, 2006, s. 11-46.
Norsted, T., "De aller fleste er r?de. Forhistoriske hellemalerier i Norge". I: Fortidsminneforeningens ?rbok 2006, s. 29-36.
Forelesning 4
Maleteknikk i middelalderen (ca 1050 – 1500) (Kaja Kollandsrud)
Norge
Fr?ysaker, Tine and Kollandsrud, Kaja, ‘The Calvary Group in Urnes Stave Church, Norway: A technological Examination’, In: Jilleen Nadolny with Kaja Kollandsrud, Marie Louise Sauerberg and Tine Fr?ysaker, Medieval Painting in Northern Europe: Technique, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, Archetype Publications, London (2006) 43-58. [9]
Kollandsrud, Kaja, ‘Vasari’s Theory on the Origins of Oil Painting and its Influence on Cleaning Methods: The Ruined Polychromy of the Early Thirteenth Century Crucifix from Haug, Norway’, In: Sculpture Conservation: Preservation or Interference?, ed. D. Lindley, Scholar Press, Liverpool (1993) 139-49. [Example of a technical study of a Norwegian Crucifix, painted in oil, which was damaged when it was cleaned as a tempera painting] [9]
Kollandsrud, Kaja, ‘New Light on the Virgin from Veldre, the Virgin from ?stsinni and the Crucifix from Tretten’, In: Jilleen Nadolny with Kaja Kollandsrud, Marie Louise Sauerberg and Tine Fr?ysaker, Medieval Painting in Northern Europe: Technique, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, Archetype Publications, London (2006) 76-90. [9,5]
Plahter, Unn, ‘The capital-lion from Vossestrand in Norway, an investigation of the polychromy’, Pigments and colorants de l’Antiquité et du Moyen Age, ?ditions du centre national de la recherché scientifique, Paris (1990) 273-81. [7]
Plahter, Unn, ‘Colours and pigments used in Norwegian altar frontals’, Norwegian Medieval Altarfrontals, ACTA ad Achaeologiam et Artivm Historiam Pertinentia, Institvtvm Romanvm Norvegiae XI, eds. M. Malmanger, L. Berczelly and S. Fuglesang, Rome (1995) 111-26. [12]
Plahter, Unn, ‘Norwegian medieval oil paintings with special attention to the Hedal frontal’, In: Das Aschaffenburger Tafelbild, Studien zur Tafelmalerei des 13. Jahrhunderts, Arbeitshefte des Bayerischen Landesamtes für Denkmalpflege 89, eds. E. Emmerling and C. Ringer, Munich (1997) 335-347. [8]
Plahter, Unn, ‘A survey on pigments and pigment application on 31 Norwegian medieval oil paintings dated to 1250-1350’, ICOM Preprints, 13th Triennial Meeting, Rio de Janiero, Vol. 1, ed. R. Vontobel, James and James, London (2002) 446-454. [5]
Plahter, Unn, ‘The Crucifix from Hemse. Analyses of the Painting Technique’, In: Jilleen Nadolny with Kaja Kollandsrud, Marie Louise Sauerberg and Tine Fr?ysaker, Medieval Painting in Northern Europe: Technique, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, Archetype Publications, London (2006) 11-19. [6]
R. White, ‘Analyses of Norwegian medieval paint media. A preliminary report’, Norwegian Medieval Altarfrontals, ACTA ad Achaeologiam et Artivm Historiam Pertinentia, Institvtvm Romanvm Norvegiae XI, eds. M. Malmanger, L. Berczelly and S. Fuglesang, Rome (1995) 132-35. [4]
Italia
Bellucci, Roberto and Frosinini, Cecilia, ‘Painting Flesh Tones’ and ‘Reading Underdrawings in Early Italian Paintings’, The Panel Paintings of Masolino and Masaccio: The Role of Technique, eds. C.B. Strehlke and C. Frosinini, 5 Continents Editions, Milan (2002) 32-33, 56-57. [2]
Ciatti, M., ‘Aspects of the artistic technique in Tuscan painting from the XIIth to the XIIIth century’, In: Das Aschaffenburger Tafelbild, Studien zur Tafelmalerei des 13. Jahrhunderts, Arbeitshefte des Bayerischen Landesamtes für Denkmalpflege 89, eds. E. Emmerling and C. Ringer, Munich (1997) 361-87. [7]
Skaug, Erling, Punch Marks from Giotto to Fra Angelico, Vol. I, IIC Nordic Group, Oslo (1994) 21-6. [5]
Bearbeiding av treverk
Marchant, Ray, ‘Medieval woodworking tools and materials’, In: Painting and practice. The Thornham Parva Retable. Technique, conservation and context of an English medieval painting, ed. A. Massing, Hamilton Kerr Institute, University of Cambridge and Harvey Miller Publishers, London (2003) 107-11. [4]
Tyers, Ian, ‘Tree-ring analysis’, Painting and practice: The Thornham Parva Retable. Technique, conservation and context of an English medieval painting, Hamilton Kerr Institute and Harvey Miller Publishers, London/Turnhout (2003) 113-21. [4]
[114,5]
Valgfri ekstralitteratur:
Campbell, Lorne; Foister, Susan, and Roy, Ashok, eds., The National Gallery Technical Bulletin 18: Early Northern European Painting, London (1997) 7-16.
Clarke, Mark, The Art of All Colours, Mediaeval Recipe Books for Painters and Illuminators, Archetype, London (2001) 1-39.
Christensen, M.C., and B?llingtoft, P., ‘Gilding in Wall Paintings: Examination of Gilded Stucco in Twelfth-Century Wall Paintings in Denmark’, IIC Dublin Conference 1998, Summaries of the Posters, Windsor (Berkshire) (1998) 2.
Nadolny, Jilleen, ‘The gilded tin-relief backgrounds of the Thornham Parva Retable and the Cluny Frontal: technical and stylistic context’, in Painting and practice. The Thornham Parva Retable. Technique, conservation and context of an English medieval painting, ed. A. Massing, Hamilton Kerr Institute, University of Cambridge and Harvey Miller Publishers, London (2003) 174-88.
Nadolny, Jilleen, ‘All that’s burnished isn’t bole. Reflections on medieval water gilding. Part I: Early medieval to 1300’, In: Medieval Painting in Northern Europe: Technique, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, Jilleen Nadolny, with Kaja Kollandsrud, Marie Louise Sauerberg and Tine Fr?ysaker, Archetype Publications, London (2006) 148-62.
Jilleen Nadolny with Kaja Kollandsrud, Marie Louise Sauerberg and Tine Fr?ysaker, Medieval Painting in Northern Europe: Technique, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, Archetype Publications, London (2006).
Howard, Helen, ‘Scientific Examinations of Medieval Wallpaintings’, Western Medieval Wall Paintings: Studies and Conservation Experience. Sighisoara, Romania, 31 August- 3 September, 1995, ICOM, Rome (1997) 43-50.
Kempski, Mary, ‘A technical comparison of the Thornham Parva Retable with contemporary paintings, with particular reference to East Anglia’, In: Painting and practice. The Thornham Parva Retable. Technique, conservation and context of an English medieval painting, ed. A. Massing, Hamilton Kerr Institute, University of Cambridge and Harvey Miller Publishers, London (2003) 145-58. [Review of the technique of the few surviving painted objects from England]
Koller, Manfred, ‘Leaf-Gilded Surfaces, Burnishing and Varnishing in Central Europe’, In: Gilded Wood, Conservation and History, eds. D. Bigelow, E. Cornu, G.J. Landrey and C. van Horne, Sound View Press, Madison (CT): 291-99.
Philippot, Paul, ‘Signification of polychromed sculpture in Antiquity and Middle Ages’, in Polykrom skulptur og maleri p? tr?, eds. S. Bjarnhof and V. Thomsen, Nordisk Ministerr?d, Cophenhagen (1982) 9-17. [The function of polychromed sculpture]
Unn Plahter, Erla B. Hohler, Nigel J. Morgan and Anne Wichstr?m, Painted Altar Frontals of Norway 1250-1350, Archetype, London (2005) 3 volumes. Volume 2: Unn Plahter, Materials and Technique.
Serck-Dewaide, Myriam, ‘The History and Conservation of the Surface Coating on European Gilded-Wood Objects’, In: Gilded Wood, Conservation and History, eds. D. Bigelow, E. Cornu, G.J. Landrey and C. van Horne, Sound View Press, Madison (CT): 65-73 (78).
Forelesning 5
1600-tallets maleteknikk: utenlandske malerier og malere i Norge (Tine Fr?ysaker)
Bruyn, J., ‘Studio Practice and Studio Production’, In: A Corpus of Rembrandt Paintings, Rembrandt Research Project 3, The Hague/Boston/London (1982) 12-50. [35]
Ford, Thierry-Olivier og Fr?ysaker, Tine, ’Konservering av Peter Reimers altermalerier i Valle kirke, Lindesnes kommune i Vest-Agder’, NIKU Rapport 13, NIKU, Oslo (2007) 3, 5-9, 12-14, 16-22 (illustrasjoner), 24-29 (snitt-tabeller) [9]
Fr?ysaker, Tine, ‘Seventeenth-Century Church Paintings of Gottfried Hendtzschel: Technical Examination and Church Records’, In: Painting Techniques, History, Materials and Studio Practice, Contributions to the Dublin Congress 7-11 September 1998, IIC, London (1998) 180-184. [3]
Fr?ysaker, Tine, ‘A Note on Gottfried Hendtzschel’, I: Conservare Necesse Est, Festskrift til Leif Einar Plahter p? hans 70-?rsdag, Nordisk Konservatorforbund, Oslo (1999) 155-162. [5]
Fr?ysaker, Tine, ‘Hendtzschel, Gottfried Andersen’, I: Norsk Biografisk Leksikon 4, Oslo (2001) 229-230. [2]
Fr?ysaker, Tine, ‘Gottfried Hendtzschel i Vindafjords kirker’, I: Vindetreet. Sogeskrift for Vindafjord (2003) 39-43. [3]
Plahter, Leif Einar, ‘Thomas de Keysers familiebilde i Nasjonalgalleriet. En r?ntgenunders?kelse’, I: Meddelelser om konservering (1963) 18-19. [2]
Plahter, Leif Einar, ’Thomas de Keysers Familiescene’, I: Conservare Necesse Est, Festskrift til Leif Einar Plahter p? hans 70-?rsdag, Nordisk Konservatorforbund, Oslo (1999) 35-41. [3]
Plahter, Leif Einar, and Simonsen Plahter, Unn, ’The Young Christ among the Doctors by Teodoer van Baburen. Technique and Condition of a Dutch Seventeenth Century Painting on Canvas’, I: Conservare Necesse Est, Festskrift til Leif Einar Plahter p? hans 70-?rsdag, Nordisk Konservatorforbund, Oslo (1999) 42-64. [20]
Plahter, Unn, ‘Baburen Re-Examined’, I: Conservare Necesse Est, Festskrift til Leif Einar Plahter p? hans 70-?rsdag, Nordisk Konservatorforbund, Oslo (1999) pp. 65-67. [2]
Solstad, J?rgen, ’Irgensepitafiet i R?ros kirke ’, NIKU publikasjoner 118, Oslo (2002) 3, 7-11, 17, 22. [4]
Stein, Mille, ‘Sammenlignende betraktninger omkring en 1600-talls dobbeltgrundering’, I: Meddelelser om konservering 3 (1979) 1-8. [4]
Stein, Mille, ’Randbemerkinger. Et dobbelteksponert familieportrett’, I: Kunst og Kultur 3, Oslo (1986) 178-184. [4,5]
[100,5]
Forelesning 6
Rembrandt og Vermeers maleteknikk (J?rgen Wadum)
van de Wetering, E., Rembrandt. The painter at work, Amsterdam University, Amsterdam (1997) 6-23 (panel), 91-130 (canvas and grounds), 136-52 (palette), 160-9 (brushstrokes), 193-203 (glazing myth), 225-43 (binding media)
van Hout, Nico, ‘Meaning and Development of the Ground-Layer in Seventeenth Century Painting’, in Looking Through Paintings, Leids Kunsthistorisch Jaarboek 11, ed. E. Hermens, Archetype, London (1998) 199-225.
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Forelesning 7 og 8
Important developments of the 18th and 19th centuries (Jilleen Nadolny)
Boime, Albert, The Academy and French Painting in the Nineteenth Century, Phaidon, London (1971) 1-8, 18-21, 36-41. [19]
O’Donoghue, Elma, Romero, Rafael and Dik, Joris, ‘French eighteenth-century painting technique’, In: Painting Techniques, History, Materials and Studio Practice. Contributions to the Dublin Congress 7-11 September 1998, IIC, London (1998) 185-189. [4]
Katz, Melissa R., ‘William Holman Hunt and the “Pre-Raphaelite Technique”’, Historical Painting Techniques, Material, and Studio Practice, eds. A. Roy and P. Smith, IIC, London (1998) 158-165. [6]
Townsend, Joyce H.; Ridge, Jacqueline, and Hackney, Stephen, Pre-Raphaelite Painting Techniques: 1848-56, Tate Publishing, London (2004) 9-19, 21-27, 39-49, 51-75, 112-123. [58]
Townsend, Joyce H., ‘The materials used by British oil painters throughout the nineteenth century’, Reviews in Conservation 3 (2002) 46-55. [6]
Townsend, Joyce H., ‘Painting Techniques and Materials of Turner and Other British Artists 1775-1875’, Historical Painting Techniques, Material, and Studio Practice, eds. A. Roy and P. Smith, IIC, London (1998) 176-185. [6]
Townsend, Joyce H., ‘Turner's use of materials, and implications for conservation’, Turner's Painting Techniques in Context, ed. J. Townsend, UKIC, London (1995) 5-11. [6]
Bomford, David; Kirby, Jo; Leighton, John and Roy, Ashok, Art in the Making: Impressionism, The National Gallery London and Yale University Press, New Haven/London (1990) 10-104. [77]
Callen, Anthea, Techniques of the Impressionists, Tiger Books International, London (1988) 8-29, 31, 58-61, 157, 186-189. [20]
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Forelesning 9
Norske 1800-talls malere og deres maleteknikk: J.C. Dahl og Edvard Munch (Trond Aslaksby)
Aslaksby, Trond E.: “Det syke barn. Et maleri i forvandling – teknikk og behandling”, I: utstillingskatalog, Nasjonalmuseet for kunst, arkitektur og design, (2009) 57 – 85. [13]
Plahter, Leif Einar og Plahter, Unn, J.C. Dahls malerier. En teknisk unders?kelse, I: Johan Christian Dahl 1788-1857. Jubileumsutstilling 1988, nasjonalgalleriet, Oslo (1988) 59-77. [18]
Gjestel?rer foresl?r ytterligere litteratur:
Plahter, Leif Einar og Unn Plahter: ”J.C. Dahls malerier – en teknisk unders?kelse” i katalog Johan Christian Dahl 1788- 1857. Jubileumsutstilling 1988, s. 59 – 79, Nasjonalgalleriet/Bergen Billedgalleri 1988.
Plahter, Leif Einar og Unn Plahter: ”Die ?lstudien Johan Christian Dahls auf Papier – eine technische Untersuchung”, ”, i Das 19. Jahrhundert und die Restaurierung, s. 143 – 163, Heinz Alth?fer (Hrsg.), München 1987. [tilsv. deres norske artikkel, mer eller mindre. Boken inneholder flere liknende artikler om sentrale tyske 1800-tallskunstnere.]
Kaland, Bj?rn: “Lars Hertevigs Maltechnik”, i Das 19. Jahrhundert und die Restaurierung, s. 94 – 111, Heinz Alth?fer (Hrsg.), München 1987.
Marit Ingeborg Lange: ”Peder Balke som h?ndv?rker, landskabsmaler og social reformator” i Peder Balke - Modernismens norske pioner, s.21 – 23 (1 ? side). Utstillingskatalog, Kunsthalle Krems/Ordrupgaard 2008.
Buchart, Dieter: ”Peder Balke - Det modernes norske pioner” i Peder Balke - Modernismens norske pioner, s. 29 – 43 (7 sider). Utstillingskatalog, Kunsthalle Krems/Ordrupgaard 2008.
Aslaksby, Trond E.: ”München-skolens maleteknikk – Noen betraktninger”, i katalog Svermeri og virkelighet – München i norsk maleri, s. 66 – 75. Nasjonalgalleriet 2002.
Aslaksby, Trond E.: ”Det syke barn. NG.M.00839, Et maleri i forvandling – teknikk og behandling”, i katalog Edvard Munch – Det syke barn, s. 57 – 85, Nasjonalmuseet for kunst, arkitektur og design 2009.
Marit Lange og Dieter Buchards artikler om Balke inneholder kun noen kortere direkte referanser til Balkes maleteknikk.
F?lgende artikler sier lite om kunstnernes bruk av materialer, men mye om deres arbeid med motivene:
Plahter, Leif Einar: ”Det syke barn og V?r. En r?ntgenunders?kelse av to Munch-bilder”, Kunst og Kultur, 57, 1974, s. 103 – 115.
Plahter, Leif Einar: ”Christian Krohgs Albertine i politilegens ventev?relse. En r?ntgenunders?kelse”, Kunst og Kultur, 61, 1978, s. 107 – 127.
Plahter, Leif Einar: ”Det syke barn. Spekulasjoner og fakta om maleriets opprinnelige utseende”, Kunst og Kultur, 75, 1992, s. 85 – 99.
Plahter, Leif Einar: ”Munch under overflaten. Teknisk unders?kelse av fire malerier av Edvard Munch”, Oslo, Nasjonalgalleriet, 1994, 46 s.
Forelesning 10
Maleren som grafiker. Nikolai Astrups tresnitt. (Kari Greve)
?ystein Loge: Gartneren under regnbuen, Oslo (1986) 261 -272. [5]
Jan Askeland: Nikolai Astrups grafikk, I: Kunst og Kulturs serie, Oslo 1956. [32]
Sidsel Helliesen: Vi ser p? grafikk, 2. oppl. Oslo (2009) 19 - 42 [Om tresnitt]. [8]
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Forelesning 11
Edvard Munchs maleteknikk (Biljana Topalova-Casadiego)
Aslaksby, Trond E.: “Det syke barn. Et maleri i forvandling – teknikk og behandling”, I: utstillingskatalog, Nasjonalmuseet for kunst, arkitektur og design, (2009) 57 – 85. [13]
Topalova-Casadiego, Biljana: ”Edvard Munchs L?srivelse, 1896. Aspekter ved maleteknikken”, I: Norske Konserves, nr. 2 (2004) 13-14. [2]
Topalova-Casadiego, Biljana: ”Kort om en nyoppdaget Munch”, I: Norske Konserves, nr. 1 (2006) 15–16. [1]
Topalova-Casadiego, Biljana: "Tekniske aspekter ved Edvard Munchs maleri". I: Woll, Gerd: Edvard Munch. Samlede malerier. Catalogue raisonné, bind II, Oslo (2008) 424 – 458. [12] Topalova-Casadiego, Biljana: ” De to malte versjonene av Skrik. Fors?k p? en maleteknisk sammenligning”, I: Skriks utstillingskatalog, Munch-museet (2008) 87-99. [7]
Fr?ysaker, Tine: ”Bevaring av Edvard Munchs Aulamalerier f?r og n?”, I: Kunst og Kultur 1, (2008) 2-17. [9,5] Fr?ysaker, Tine; Liu, Mirjam: “Four (of eleven) unvarnished oil paintings on canvas by Edvard Munch in the Aula of Oslo University: Preliminary notes on their materials, techniques and original appearances”, I: Restauro 1, (2009) 44-62. [6]
Landro, Gry; Topalova-Casadiego, Biljana; Ufnalewska-Godzimirska, Magdalena: ” Konserveringen av Munchmuseets Skrik. Unders?kelser og betraktninger”, I: Skriks utstillingskatalog, Munch-museet (2008) 57 -74. [8,5]
Milnes, Anne; Topalova-Casadiego, Biljana: ” Konserveringen av Munch-museets Madonna. Unders?kelser og betraktninger”, I: Madonnas utstillingskatalog, Munch-museet (2008) 73 – 89. [9,5]
Plahter, Leif Einar, ‘Beneath the Surface of Edvard Munch, Technical examinations of four paintings by Edvard Munch’, in Conservare necesse est. Festskrift til Leif Einar Plahter p? hans 70-?rsdag, ed. E. Skaug, IIC Nordic Group, Oslo (1999) 111-27, esp. 111-8. [7]
[68,5]
Valgfri ekstralitteratur:
Stein, Mille ... [et al.]: "A conservation plan for 1158 paintings by Edvard Munch", I: Zeitschrift für Kunsttechnologie und Konservierung, vol. 20, nr 2, (2006) 353-360.
Forelesning 12
Modern and Contemporary Painting: The Synthetic Revolution (Thierry Ford)
Learner, Tom and Crook, Jo, The Impact of Modern Paints, Tate Gallery, London (2000) 8-35, 84-97, 112-180, 185-189. [69]
Kirsch, Andrea and Levenson, Rustin S., Seeing Through Paintings; Physical Examination in Art History Historical Studies 1, Yale University Press, New Haven/London (2000) 134-151. [6]
Januszczak, Waldemar, ed., Techniques of the World’s Great Painters, Phaidon, Oxford (1980) 158-170, 172-181. [7]
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