KONS2040 – Introduksjon til malerens teknologi i Europa, ca. 1000 til n?
Pensum/l?ringskrav (H?st 2013)
V?r oppmerksomme p? at det kan komme til ? bli noen endringer i pensumet. F?lg med p? denne siden i begynnelsen av semesteret.
Text for purchase:
Delemare, F., and Guineau, B., Colour. Making and Using Dyes and Pigments, Thames & Hudson, London (2000) (ISBN 0-500 30102-6).
Cennino Cennini (Thompson ed. 1960) – Cennino d’Andrea Cennini, The Craftsman’s Handbook “Il Libro dell’ Arte”, trans. and ed. D.V. Thompson, Jr, Dover Publications, New York (1960). (Original: Yale University Press, New Haven, 1932.)
Texts in Scandinavian languages (see BIBSYS):
Cennino Cennini, Boken om m?larkonsten ?Il libro dell’arte”, eds. K. Forsberg and B. Ossian Lindberg, Sekel (p? svensk) (2011). ISBN: 978-91-85767-91-5
Selsjord, M., Staffelimaleriets oppbygning, Statens Kunstakademi, Oslo (1990).
(General text with basic technical vocabulary.)
Hansen, F., and Jensen, O.I., Farvekemi: uorganiske pigmenter, GAD, Copenhagen (1991).
Ansteinsson, J., and Reiersen, O., Engelsk-norsk teknisk ordbok, 6th ed., Brun, Trondheim (1994).
General texts on artists’ materials/pigments (see BIBSYS):
Thompson, D.V., The Materials and Techniques of Medieval Painting, Dover Publications, Mineola, NY (1956). (Original: G. Allen and Unwin, London, 1936.)
Gettens, R.J., and Stout, G.L., Painting Materials: A Short Encyclopedia, Dover Publications, New York (1966) 147–148. (Original: D. Van Nostrand, New York, 1942.)
Feller, R.L., ed., Artists’ Pigments. A Handbook of their History and Characteristics, Volume 1, Cambridge University Press and National Gallery of Art, Washington, D.C. (1986).
Roy, A., ed., Artists’ Pigments. A Handbook of their History and Characteristics, Volume 2, National Gallery of Art, Washington, D.C., and Oxford University Press (1993).
West FitzHugh, E., ed., Artists’ Pigments. A Handbook of their History and Characteristics, Volume 3, National Gallery of Art, Washington, D.C. and Oxford University Press (1997).
Berrie, B., ed., Artists’ Pigments. A Handbook of their History and Characteristics, Volume 4, National Gallery of Art, Washington, D.C. and Oxford University Press, Oxford (2007).
Harley, R.D., Artists’ Pigments c. 1600–1835, revised, Archetype, London (2001). (Original: Butterworth Scientific, Oxford, 1970).
Hill Stoner, J., and Rushfield, R., eds., Conservation of Easel Paintings, Elsevier Butterworth-Heinemann, Oxford (2012).
Wadum, J., and Streeton, N., eds., ‘History and use of panels or other rigid supports for easel paintings’, in Conservation of Easel Paintings, eds. J. Hill Stoner and R. Rushfield, Elsevier Butterworth-Heinemann, Oxford (2012) 51?115.
Lecture 1
Introduction to painting technology, Part I: studying paintings (No?lle Streeton)
Carlyle, L.A., ‘Beyond a collection of data: what we can learn from documentary sources on artists’ materials and 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) 1?5.
Barrett, 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, Getty Conservation Institute, Los Angeles (1995) 6?11.
Martin, J.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]
Taylor, J.M. and Wainwright, I.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]
Newman, R., ‘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]
Kuniholm, P.I., ‘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.
N.L.W. Streeton, ‘Problems and strategies for a technical history for the paintings of van Eyck’, in Perspectives on the Painting Technique of Jan van Eyck: Beyond the Ghent Altarpiece, Archetype Publications, London, 2013, chapter 7.
Other reading (not provided):
Klein, P., ‘Wood identification and dendrochronology’, in Conservation of Easel Paintings, eds. J. Hill Stoner and R. Rushfield, Elsevier Butterworth-Heinemann, Oxford (2012) (ca. 10s)
Lecture 2
Introduction to painting technology, Part II: materials and ageing (No?lle Streeton)
Paints and binding media:
‘Dates for pigment use’, in Orna, M.V. and Goodstein, M.P., Chemistry and Artists’ Colours, 2nd ed. Centra Connecticut State University, New Britain (1993) Table 18.1.
Delemare, F., and Guineau, B., Colour. Making and Using Dyes and Pigments, Thames & Hudson, London (2000) 13?37
Mora, P., Mora, L., and Philippot, P., ‘Pigments’, in Conservation of Wall Paintings, Butterworths, London (1984) 56?68.
Stulik, D., ‘Paint’, in The Science of Paintings, eds. S. Taft and J.W. Mayer, Springer-Verlag, New York (2000) 12?25.
Newman, R., ‘Organic binders’, in The Science of Paintings, eds. S. Taft and J.W. Mayer, Springer-Verlag, New York (2000) 26?41.
Mallégol, J., Gardette, J-L., Keddie, J.L., and Lemaire, J., ‘Ageing of oil-based paintings’, in Deterioration of Artists’ Paints: Effects and Analysis, ICOM-CC and UKIC, London (2001) 14?17.
Brushes:
Cennino Cennini (Thompson ed. 1960), ‘The importance of knowing how to make brushes [etc]’, in Cennino d’Andrea Cennini, The Craftsman’s Handbook “Il Libro dell’ Arte”, trans. and ed. D.V. Thompson, Jr, Dover Publications, New York (1960) 40?42.
Supports:
Marchant, R., ‘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?111.
Villers, Caroline, ‘Artists’ canvases. A history’, Preprints of the ICOM-CC, 6th triennial meeting, Ottawa, ICOM, Ottawa (1981) 81/2/1:1-81/2/1:12.
‘The care of paintings: fabric paint supports’, Museum 13/3 (1960) 137?139.
Landi, S., ‘Technology’, in The Textile Conservator’s Manual, 2nd ed., Butterworth-Heinemann, Oxford (1992) 8?12, 21?22. [weaves and fibres used as painting supports]
Other reading (not provided):
Wadum, J., and Streeton, N., eds., ‘History and use of panels or other rigid supports for easel paintings’, in Conservation of Easel Paintings, eds. J. Hill Stoner and R. Rushfield, Elsevier Butterworth-Heinemann, Oxford (2012) 51?115.
Lecture 3
Maleteknikk i middelalderen (ca. 1050–1350) (Kaja Kollandsrud)
Clarke, M., The Art of All Colours. Mediaeval Recipe Books for Painters and Illuminators, Archetype, London (2001) 1?23. (24s)
Plahter, Unn, ‘The crucifix from Hemse. Analyses of the painting technique’, in Medieval Painting in Northern Europe. Techniques, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, ed. J. Nadolny with K. Kollandsrud, M.L. Sauerberg and T. Fr?ysaker, Archetype, London (2006) 11–19. (6s)
Kollandsrud, K., ‘New light on the Virgin from Veldre, the Virgin from ?stsinni and the crucifix from Tretten’, in Medieval Painting in Northern Europe [as above] (2006) 76?90. (9s)
Fr?ysaker, T., and Kollandsrud, K., ‘The Calvary Group in Urnes Stave Church, Norway: a technological examination’, in Medieval Painting in Northern Europe. [as above] (2006) 43?58. (9s)
Bucklow, S., ‘A summary of the technique’, in The Thornham Parva Retable. Painting and Practice, ed. A. Massing, Hamilton Kerr Institute, Cambridge, and Harvey Miller, London (2003) 28–46. (12s)
Sauerberg, M.L., Roy, A., Spring, M., Bucklow, S., and Kempski, M., ‘Materials and techniques’, in The Westminster Retable: History, Technique, Conservation, eds. P. Binski and A. Massing, Harvey Miller (Brepols), Turnhout (2009) 233–247. (ca.14s)
White, R., and Kirby, J., ‘Medium analysis’, in The Westminster Retable: History, Technique, Conservation, eds. P. Binski and A. Massing, Harvey Miller (Brepols), Turnhout, 2009, 252–259. (5s)
Bomford, D., Dunkerton, J., Gordon, D., and Roy, A., Art in the Making: Italian Painting Before 1400, London (1989) 17?27. (7s)
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, eds. E. Emmerling and C. Ringer, Munich (1997) 361?387. (7s)
Bellucci, R., and Frosinini, C., ‘Painting flesh tones’ and ‘Reading underdrawings in early italian paintings’, in 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. (2s)
Other reading (not provided):
Nadolny, J., ‘All that’s burnished isn’t bole. Reflections on medieval water gilding, Part 1: early medieval to 1300’, in Medieval Painting in Northern Europe. Techniques, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, ed. J. Nadolny with K. Kollandsrud, M.L. Sauerberg and T. Fr?ysaker, Archetype, London (2006) 148–162.
Kempski, M., ‘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) 145–158.
Broch Flemestad, K., and Skaug, E., ‘Kildemateriale for middelaldermaleri. Laugsstatuttene for malere og billedskj?rere i Paris 1268 og 1391’, Universitetets Oldsaksamling ?rbok 1980/1981 (1981) 119–143).
Nadolny, J., The Techniques and Use of Gilded Relief Decoration by Northern European Painters, c. 1200-1500, Unpublished PhD Thesis, Courtauld Institute, London University (2001) Vol. 1, 155–183.
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.
Lecture 4
Late-medieval painting in northern Europe (1350?1600) (No?lle Streeton)
Delemare, F., and Guineau, B., Colour. Making and Using Dyes and Pigments, Thames & Hudson, London (2000) 39?65
Coremans, P., ‘The technique of the “Flemish Primitives’”, in Issues in the Conservation of Paintings, eds. D. Bomford and M. Leonard, Getty Conservation Institute, Los Angeles (2004) 194–206. (Original: ‘La technique des “Primitifs flamands”. ?tude scientifique des matériaux, de la structure et de la technique picturale. III. Van Eyck: L’Adoration de l’agneau mystique (Gand: Cathédrale Saint-Bavon)’, Studies in Conservation 1(4) (1954) 145-161.)
Billinge, R., Campbell, L., Dunkerton, J., Foister, S., Kirby, J., Pilc, J., Roy, A., Spring, M., and White, R., ‘Methods and materials of Northern European painting in the National Gallery, 1400-1550’, National Gallery Technical Bulletin 18 (1997) 6?16 (doc. sources); 16?25 (supports/preparation); 25?29 (underdrawing/design); 30?34 (gilding); 34?43 (paint)
Nadolny, J., and Roy, A., ‘The original technique of the Westminster Abbey portrait of Richard II’, in Medieval Painting in Northern Europe. Techniques, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, ed. J. Nadolny with K. Kollandsrud, M.L. Sauerberg and T. Fr?ysaker, Archetype, London (2006) 137–147.
Streeton, N.L.W., ‘Van Eyck and the tradition of oil painting. A review of the technical literature’, ‘The materials of northern European painters: research since the 1950s’, and ‘Past and present: rethinking the literary tradition of oil painting’, in Painting in Bruges in the Early Fifteenth Century: Investigations of the Technique of Jan van Eyck and Imported Artists’ Materials leading to an Evaluation of Methods for Technical Art History, Vol. I, Unpublished PhD thesis, University College London (2011) 66?69, 70?81, 102?104.
Roy, A.,/White, R., ‘Van Eyck’s techniques: the myth and the reality, Part I’ and ‘Part II’, in Investigating Jan van Eyck, eds. S. Foister, S. Jones, and D. Cool, Brepols, Turnhout (2000) 97?100/101-105.
Billinge, R., Campbell, L., Dunkerton, J., Foister, S., Kirby, J., Pilc, J., Roy, A., Spring, M., and White, R., ‘A double-sided panel by Stephan Lochner’, National Gallery Technical Bulletin 18 (1997) 56-66.
Spring, M., ‘Pigments in sixteenth-century painting of the Germans School’, in La technique picturale de Grünewald et des ses contemporains/The pictorial technique of Grüneward and his peers/Die Maltechnik von Grünewald und seinen Zeigenossen, eds. P. Béguerie-De Paepe and M. Menu, Centre de recherche et de restauration des musées de France (CNRS), Paris, Musée d’Unterlinden, Colmar, 2007, 136–144.
Other reading (not provided):
Dunkerton, J., Foister, S., Gordon, D. and Penny, N., Giotto to Dürer: Early Renaissance Painting in the National Gallery, National Gallery, New Haven/London (1991) 125?151, 152?204.
Baxandall, Michael, The Limewood Sculptors of Renaissance Germany, Yale University Press, New Haven/London (1980) 106-16.
Lecture 5
Major developments in European painting from the Renaissance to the Baroque (No?lle Streeton)
Delemare, F., and Guineau, B., Colour. Making and Using Dyes and Pigments, Thames & Hudson, London (2000) 67?76.
Dunkerton, J., Foister, S., Gordon, D. and Penny, N., Dürer to Veronese: Sixteenth Century Painting in the National Gallery, National Gallery, New Haven/London (1999) 183–209, 265–291.
van Eikema Hommes, M., Changing Pictures. Discolouration in 15th-17th-Century Oil Paintings, Archetype, London (2004) 17?50.
Heydenreich, G., ‘…that you paint with wonderful speed’ Virtuosity and efficiency in the artistic practice of Lucas Cranach the Elder’/‘…dass Du mit wunderbarer Schnelligkeit malest’ Virtuosit?t und Effizienz in der künstlerischen Praxis Lucas Cranachs d.?.’, in Cranach der ?lter, ed. B. Brinkman, (St?del Museum, Frankfurt am Main, 23 November 2007–17 February 2008), St?del, Frankfurt (2007) 29–47.
Horovitz, Isabel, ‘The materials and techniques of European paintings on copper supports’, in Copper as Canvas. Two Centuries of Masterpiece Paintings on Copper 1575–1775, The Phoenix Art Museum, Oxford University Press, New York/Oxford (1999) 63–85.
Other reading (not provided):
Hirst, M., and Dunkerton, J., Making and Meaning. The Young Michelangelo, National Gallery, London (1994), 10–12, 37–46, 57–71 (plus references), 83–105, 107–126 (plus references).
Dunkerton, J., and Spring, M., ‘The development of painting on coloured surfaces in sixteenth-century Italy’, in Painting Techniques. History, Materials and Studio Practice. Contributions to the IIC Dublin Congress, 7–11 September 1998, eds. A. Roy and P. Smith, IIC, London (1998) 120–130.
Spring, M., ‘Perugino’s painting materials: analysis and context within sixteenth-century easel painting’, in The Painting Technique of Pietro Vannucci, called Il Perugino. Proceedings of the LabS TECH Workshop, eds. B.G. Brunetti, C. Seccaroni and A. Sgamellotti, Nardini Editore, Florence, 2004, 21–28.
Thomas, A., ‘Setting up the business’, in The Painter’s Practice in Tuscany, Cambridge University Press, Cambridge (1995) 27?43,54?62.
Vasari on Technique; Being the Introduction to the Three Arts of Design, Architecture, Sculpture and Painting, Prefixed to the Lives of the Most Excellent Painters, Sculptors and Architects [1550], Dover Publications, New York (1960) 1–5, 212–215, 223–239.
Dunkerton, J., ‘Modifications to traditional egg tempera techniques in fifteenth-century Italy’, in Early Italian Paintings: Techniques and Analysis. Symposium, Maastricht, 9–10 October 1996, eds. R. Hoppenbrouwers and H. Dubois, Limburg Conservation Institute, Maastricht (1997) 29–34.
Kvalifiseringsoppgave
Kvalifiseringsoppgave I: material description of a painting
Kvalifiseringsoppgave II: In-class quiz
Lecture 6
Cave paintings / Hule- og hellemalerier (Terje Norsted)
Norsted, T., ‘Safeguarding the cave paintings in Lofoten, northern Norway’, Rock Art Research 27(2) (2010) 239?250.
Norsted, T., ‘Hulemalerier i Norge. Egenart, kontekst, mening og konservering. I: Egenberg’, red. S. Skar, Kultur - minner og milj?er. NIKU Tema 18 (2006) 11?46.
Norsted, T., ‘De aller fleste er r?de. Forhistoriske hellemalerier i Norge’, Fortidsminneforeningens ?rbok (2006) 29?36.
Mora, P., Mora, L., and Philippot, P., ‘Introduction’, in Conservation of Wall Paintings, Butterworths, London (1984) 11?16.
Howard, H., ‘Scientific examination of medieval wall paintings’, in Western Medieval Wall Paintings: Studies and Conservation Experience, ICCROM, Rome (1997) 43?50.
Other reading (not provided):
Clottes, J., World Rock Art, The Getty Conservation Institute, Los Angeles (2002) 57?77 (‘How was it made?’), 121?137 (‘An endangered heritage’).
Lecture 7
The Rembrandt Research Project (and its implications) (No?lle Streeton)
van de Wetering, E., Rembrandt. The Painter at Work, Amsterdam University, Amsterdam (1997) 6?23 (panels), 91?130 (canvas and grounds), 136?152 (palette), 160?169 (brushstrokes), 193?203 (glazing myth), 225?243 (binding media).
White, R., and Kirby, J., ‘Rembrandt and his circle: seventeenth-century Dutch paint media re-examined’, National Gallery Technical Bulletin 15 (1994) 64-78.
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.
Wadum, J., ‘Vermeer in perspective’, in Johannes Vermeer, ed. A.K. Wheelock Jr., National Gallery of Art, Washington, D.C. (1995) 67?79.
Other reading (not provided):
Bruyn, J., ‘Studio Practice and Studio Production’, in A Corpus of Rembrandt Paintings, Rembrandt Research Project 3, Springer, The Hague/Boston/London (1982) 12?40. (35s)
Ford, T.-O., og Fr?ysaker, T., ’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). (9s)
Fr?ysaker, T., ‘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. (3s)
Fr?ysaker, T., ‘A note on Gottfried Hendtzschel’, i Conservare Necesse Est, Festskrift til Leif Einar Plahter p? hans 70-?rsdag, red. E. Skaug, Nordisk Konservatorforbund, Oslo (1999) 155–162. (5s)
Fr?ysaker, T., ‘Hendtzschel, Gottfried Andersen’, i Norsk Biografisk Leksikon 4, Oslo (2001) 229–230. (2s)
Fr?ysaker, T., ‘Gottfried Hendtzschel i Vindafjords kirker’, i Vindetreet. Sogeskrift for Vindafjord (2003) 39–43. (3s)
Plahter, L.E., ‘Thomas de Keysers familiebilde i Nasjonalgalleriet. En r?ntgenunders?kelse’, i Meddelelser om konservering (1963) 18–19. (2s)
Plahter, L.E., ’Thomas de Keysers familiescene’, i Conservare Necesse Est, Festskrift til Leif Einar Plahter p? hans 70-?rsdag, red. E. Skaug, Nordisk Konservatorforbund, Oslo (1999) 35–41. (3s)
Plahter, L.E., and Simonsen Plahter, U., ?The Young Christ among the Doctors by Teodoer van Baburen. Technique and condition of a Dutch seventeenth century painting on canvas’, in Conservare Necesse Est, Festskrift til Leif Einar Plahter p? hans 70-?rsdag, ed. E. Skaug, Nordisk Konservatorforbund, Oslo (1999) 42–64. (20s)
Plahter, U., ‘Baburen re-examined’, in Conservare Necesse Est, Festskrift til Leif Einar Plahter p? hans 70-?rsdag, Nordisk Konservatorforbund, Oslo (1999) 65–67. (2s)
Solstad, J., ’Irgensepitafiet i R?ros kirke ’, NIKU publikasjoner 118, Oslo (2002) 3, 7–11, 17, 22. (4s)
Stein, M., ‘Sammenlignende betraktninger omkring en 1600-talls dobbeltgrundering’, Meddelelser om konservering 3 (1979) 1–8. (4s)
Stein, M., ’Randbemerkinger. Et dobbelteksponert familieportrett’, Kunst og Kultur 3, Oslo (1986) 178–184. (4,5s)
Lecture 8
The 18th and 19th centuries (No?lle Streeton)
Delemare, F., and Guineau, B., Colour. Making and Using Dyes and Pigments, Thames & Hudson, London (2000) 76?127.
Boime, A., The Academy and French Painting in the Nineteenth Century, Phaidon, London (1971) 1?8, 18?21, 36?41.
Plahter, L.E., og Plahter, U., ?J.C. Dahls malerier. En teknisk unders?kelse’, in Johan Christian Dahl 1788?1857. Jubileumsutstilling 1988, Nasjonalgalleriet, Oslo (1988) 59?77.
Lange, M.I.,, ?Peder Balke som h?ndv?rker, landskabsmaler og social reformator’ i Peder Balke. Modernismens norske pioner, Kunsthalle Krems and Ordrupgaar, Krems and Copenhagen, 2008, 11?27, esp. 21?23.
Townsend, J.H., ‘The materials used by British oil painters throughout the nineteenth century’, Reviews in Conservation 3 (2002) 46?55.
Townsend, J.H., ‘Turner’s use of material, and implications for conservation’, in Turner’s Painting Techniques in Context, ed. J.H. Townsend, UKIC, London (1995) 5?11.
Katz, Melissa R., ‘William Holman Hunt and the “Pre-Raphaelite Technique”’, 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, Getty Conservation Institute, Los Angeles (1995) 158?165.
Callen, A., The Art of Impressionism. Painting Technique and the Making of Modernity, Yale University Press, New Haven/London, 2000, 111?126.
Callen, A., Techniques of the Impressionists, Tiger Books International, London (1988) 8?29, 31, 58?61, 157, 186?189.
Other reading (not provided):
O’Donoghue, E., Romero, R., and Dik, J., ‘French eighteenth-century painting technique’, in in Painting Techniques. History, Materials and Studio Practice. Contributions to the IIC Dublin Congress, 7–11 September 1998, eds. A. Roy and P. Smith, IIC, London (1998) 185?189. (4s)
Bomford, D., Kirby, J., Leighton, J., and Roy, A., Art in the Making: Impressionism, National Gallery and Yale University Press, London/New Haven (1990) 10?104.
Townsend, J.H.; Ridge, J., and Hackney, S., Pre-Raphaelite Painting Techniques: 1848?1856, Tate Publishing, London (2004) 9?19, 21?27, 39?49, 51?75, 112?123. (58s)
Blühm, A., and Lippincott, L., Light! The Industrial Age 1750-1900, Art & Science, Technology & Science, Van Gogh Museum, Amsterdam/Carnegie Museum of Art, Pittsburgh, Thames & Hudson (2000).
Harley, R.D., ‘Literary sources: printed books 1650?1835’, and ‘Prussian blue’, ‘Scheele’s green [etc.]’, ‘Chrome yellow [etc.]’, ‘Zinc white’, in Artists’ Pigments c. 1600–1835, revised, Archetype, London (2001) 15?28, 70?75, 83?88, 100?103, 176?180. (26s)
Bailey, K., ‘A note on Prussian blue in nineteenth-century Canton’, Studies in Conservation 57(2) (2012) 116?121.
Lecture 9
Edvard Munchs maleteknikk (Biljana Topalova-Casadiego)
Topalova-Casadiego, B., ‘Tekniske aspekter ved Edvard Munchs maleri’. i G. Woll, Edvard Munch. Samlede Malerier. Catalogue Raisonné, bind II, Cappelen and Damm, Oslo (2008) 424–458. (12s)
Landro, G., Topalova-Casadiego, B., Ufnalewska-Godzimirska, M., ‘Konserveringen av Munchmuseets Skrik. Unders?kelser og betraktninger’, i Skrik (utstillingskatalog), Munch-museet, Oslo (2008) 57?74. (9s)
Topalova-Casadiego, B., ‘De to malte versjonene av Skrik. Fors?k p? en maleteknisk sammenligning”, i Skrik (utstillingskatalog), Munch-museet, Oslo (2008) 87?99. (6s)
Milnes, A., and Topalova-Casadiego, B., ‘Konserveringen av Munch-museets Madonna. Unders?kelser og betraktninger’, i Madonna (utstillingskatalog), Munch-museet, Oslo (2008) 73–89. (8s)
Aslaksby, T.E., ‘Det syke barn. Et maleri i forvandling – teknikk og behandling’, i Edvard Munch: Det syke barn, Historien om et mesterverk/The Sick Child, The Story of a Masterpiece, eds. O. Ustvedt and T.E. Aslaksby, Nasjonalmuseet for kunst, arkitektur og design, Oslo (2009) 57–85. (13s)
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, Nordisk Konservatorforbund, Oslo (1999) 111?127. (7s)
Fr?ysaker, T. ‘Bevaring av Edvard Munchs Aulamalerier f?r og n?’, Kunst og Kultur 1, (2008) 2?17. (10s)
Fr?ysaker, T., and Liu, M., ‘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’, Restauro 1 (2009) 44?61. (6s)
Other reading (not provided):
Topalova-Casadiego, B., ‘Kort om en nyoppdaget Munch’, Norske Konserves 1 (2006) 15–16. (1s)
Topalova-Casadiego, B., ‘Edvard Munchs L?srivelse, 1896. Aspekter ved maleteknikken’, Norske Konserves 2 (2004) 13?14. (2s)
Stein, Mille ... [et al.]: "A conservation plan for 1158 paintings by Edvard Munch", Zeitschrift für Kunsttechnologie und Konservierung 20(2) (2006) 35?360.
Aslaksby, T.E., ‘München-skolens maleteknikk – Noen betraktninger’, i Svermeri og virkelighet: München i norsk maleri, Nasjonalgalleriet, Oslo (2002) 66–75.
Plahter, L.E., ‘Det syke barn. Spekulasjoner og fakta om maleriets opprinnelige utseende’, Kunst og Kultur 75 (1992) 85–99.
Plahter, L.E., ‘Munch under overflaten. Teknisk unders?kelse av fire malerier av Edvard Munch’, Nasjonalgalleriet, Oslo (1994) 46s.
Lecture 10
Modern and contemporary painting: the synthetic revolution (Thierry Ford)
Learner, T. and Crook, J., The Impact of Modern Paints, Tate Gallery, London (2000) 8?35, 84?97, 112?180 + glossary: 185?189. (ca. 65s)
Kirsch, A. and Levenson, R.S., Seeing Through Paintings: Physical Examination in Art History Historical Studies 1, Yale University Press, New Haven/London (2000) 134?151. (6s)
Januszczak, W., ed., Techniques of the World’s Great Painters, Phaidon, Oxford (1980) 158?170, 172?181. (7s)
Lecture 11
European painting techniques: an overview, with a practical guide to documentation and condition reporting (No?lle Streeton)
Barrett, 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 (see reading for Lecture 1).
Taylor, J.M., and Wainwright, I.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 (see reading for Lecture 1).
Technique timeline
Condition report