Pensum/l?ringskrav (H?st 2019)
KONS2040
Introduksjon til kunstteknologi/Introduction to painting technology
Teaching and requirements:
- 10 lectures
- 5 seminars
- 1 Quiz
- 1 Qualifier
- Home exam
Texts for purchase (KONS2040 & KONS3040):
Delemare, F. & Guineau, B. 2000. Colour. Making and Using Dyes and Pigments. London: Thames & Hudson. ISBN 0500301026 Nettpris: 114,-
Streeton, N.L.W. 2013. Perspectives on the Painting Technique of Jan van Eyck: Beyond the Ghent Altarpiece. London: Archetype Publications. ISBN 9781904982708 Nettpris: 753,-
Notes on the pensum list:
- Reading is divided by lecture (1?10).
- For the first readings, total pages per lecture are given to help with budgeting time.
- The number of pages for required reading excludes images from the page count.
- Key: € = open access; * = Compendium; no symbol = publication for purchase
- A list of publications for further reading (not included in the Compendium) will be distributed after the first lecture.
Lecture 1: Introduction to painting technology, Part I: studying paintings
No?lle Streeton
*Barrett, S. & Stulik, D. 1995. 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 & M. Peek, Los Angeles: Getty Conservation Institute, pp. 6?11. (5pp)
*Stulik, D. 2000. Paint. In The Science of Paintings, eds. S. Taft & J.W. Mayer, New York: Springer-Verlag, pp. 12?25. (12pp)
Streeton, N.L.W. 2013. Problems and strategies for a technical history¡ [chapter 7]. In Perspectives on the Painting Technique of Jan van Eyck: Beyond the Ghent Altarpiece. London: Archetype Publications, pp. 135?141. (5pp)
Delemare, F. & Guineau, B. 2000. Colour. Making and Using Dyes and Pigments. London: Thames & Hudson, pp. 13?65. (52 pp)
*Townsend, J. & Boon, J. 2012. Research and instrumental analysis in the materials of easel painting. In Conservation of Easel Paintings, eds. J. Hill Stoner & R. Rushfield. Oxford: Elsevier Butterworth-Heinemann, pp. 341?365. (24pp)
Reading: 98 pp (Note: 52 pages are in the tiny Delemare & Guineau book. The pages are small, and heavily illustrated.)
Seminar 1: Materials for painting (3 hours)
Lecture 2: Introduction to painting technology, Part II: materials and ageing
No?lle Streeton
Pigments and binders:
*Eastaugh, N., Nadolny, J. & Lowengard, S. 2012. Pigments in Western easel painting. In Conservation of Easel Paintings, eds. J. Hill Stoner & R. Rushfield. Oxford: Elsevier Butterworth-Heinemann, pp. 189?207 (18pp ¨C in 928-page book)
*Hermens, E. & Townsend, J. 2012. Binding media. In Conservation of Easel Paintings, eds. J. Hill Stoner & R. Rushfield. Oxford: Elsevier Butterworth-Heinemann, pp. 207?213 (6pp)
Brushes and tools:
*Cennino Cennini (Thompson ed.). 1960. The importance of knowing how to make brushes. In Cennino d¡¯Andrea Cennini, The Craftsman¡¯s Handbook ¡°Il Libro dell¡¯ Arte¡±, trans. and ed. D.V. Thompson, Jr, New York: Dover Publications, pp. 40?42. (2pp)
*Marchant, R. 2003. 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. University of Cambridge and London: Hamilton Kerr Institute and Harvey Miller Publishers, pp. 107?111. (3pp)
Grounds:
*Stols-Witlox, M., with Ormsby, B. and Gottsegen, M. 2012. Grounds, 1400?1900. and Twentieth-century grounds. In Conservation of Easel Paintings, eds. J. Hill Stoner & R. Rushfield. Oxford: Elsevier Butterworth-Heinemann, pp. 161?188. (27pp)
Support materials:
*Wadum, J., & Streeton, N., eds. 2012. History and use of panels or other rigid supports for easel paintings. In Conservation of Easel Paintings, eds. J. Hill Stoner & R. Rushfield. Oxford: Elsevier Butterworth-Heinemann, pp. 51?115. (64pp)
*Young, C. 2012. History of fabric supports. In Conservation of Easel Paintings, eds. J. Hill Stoner & R. Rushfield. Oxford: Elsevier Butterworth-Heinemann, pp. 116?147. (30pp)
Reading: 150 pp
Seminar 2: Source research (3 hours)
Lecture 3: Medieval painting in northern Europe (c. 1050?1600)
No?lle Streeton
*Plahter, U. 2006. 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 & T. Fr?ysaker, London: Archetype Publications, pp. 11¨C19. (6pp)
*Fr?ysaker, T. & Kollandsrud, K. 2006. The Calvary group in Urnes stave church, Norway: a technological examination. 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 & T. Fr?ysaker, London: Archetype Publications, pp. 43?58. (9pp)
*Nadolny, J. 2006. 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 & T. Fr?ysaker, London: Archetype Publications, pp. 148¨C162. (12pp)
*Skaug, E. 2006. ¡®The third element¡¯: Preliminary notes on parchment, canvas and fibres as structural components related to the grounds in medieval and Renaissance panel paintings. 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 & T. Fr?ysaker, London: Archetype Publications, pp. 182?201. (18pp)
*Clarke, M. 2001. The Art of All Colours. Mediaeval Recipe Books for Painters and Illuminators. London: Archetype Publications, pp. 1?35. (33pp)
*Kollandsrud, K. 2014. A perspective on medieval perception of Norwegian church art. In Paint and Piety. Collected Essays on Medieval Painting and Polychrome Sculpture, eds. N.L.W. Streeton & K. Kollandsrud. London: Archetype Publications, pp. 51?66. (10pp)
*Mercier, E. & Sanyova, J. 2014. The Sedes Sepientiae of the van den Peerboom donation to the Royal Museum of Art and History in Brussels. Materials and techniques of a polychrome sculpture from the beginning of the thirteenth century. In Paint and Piety. Collected Essays on Medieval Painting and Polychrome Sculpture, eds. N.L.W. Streeton & K. Kollandsrud. London: Archetype Publications, pp. 77?91. (7pp)
€ Wadum, J., Curry, C., Streeton, N., Glatigny, J-A., & Goetghebeur, N., eds. 2016. Part I. Chapter 2. Wood technology; Chapter 5, Woodworking and trade in medieval France. In Wooden Supports in 12th-16th Century European Paintings. A New English Commented Translation of Jacqueline Marette's Connaissance des Primitifs par l'¨¦tude du bois du XIIe au XVIe si¨¨cle. London and Copenhagen: Archetype Publications with CATS, Centre for Art Technological Studies and Conservation. Open access: http://www.wooden-supports-marette.com/ (c. 10pp)
*Bomford, D., Dunkerton, J., Gordon, D., & Roy, A. 1989. Art in the Making: Italian Painting Before 1400. London: National Gallery, pp. 17?27. (7pp)
Reading: 112 pp
Seminar 3: Understanding the surface and structure of medieval sculpture (KHM)
Lecture 4: Jan van Eyck and debates about late-medieval painting techniques. What¡¯s the fuss?
No?lle Streeton
*Coremans, P. 2004. The technique of the ¡°Flemish Primitives¡±. In Issues in the Conservation of Paintings, eds. D. Bomford & M. Leonard. Los Angeles : Getty Conservation Institute, pp. 194¨C206. Original: 1954. La technique des ¡°Primitifs flamands¡±. ?tude scientifique des mat¨¦riaux, de la structure et de la technique picturale. III. Van Eyck: L¡¯Adoration de l¡¯agneau mystique (Gand: Cath¨¦drale Saint-Bavon), Studies in Conservation 1(4). (8pp)
€ Billinge, R., Campbell, L., Dunkerton, J., Foister, S., Kirby, J., Pilc, J., Roy, A., Spring, M., & White, R. 1997. Methods and materials of Northern European painting in the National Gallery, 1400-1550. National Gallery Technical Bulletin 18, pp. 6?16 (doc. sources); 16?25 (supports/preparation); 25?29 (underdrawing/design); 30?34 (gilding); 34?43 (paint) (c. 36pp)
Streeton, N.L.W. 2013. Perspectives on the Painting Technique of Jan van Eyck: Beyond the Ghent Altarpiece, London: Archetype Publications. Introduction, Chapters 1?4, pp. 1?106 (ca. 53 pp)
€ Streeton, N.L.W. 2014. Emulating van Eyck: the significance of grisaille. In European Paintings 15th?18th Century: Copying, Replicating and Emulating. CATS Proceedings, I, 2012, ed. E. Hermens. London: Archetype Publications, pp. 29?35. (5 pp)
History of the KHM medieval collection
*Hohler, E. & Streeton, N.L.W. 2014. The medieval collection of the Museum of Cultural History, University of Oslo: a tradition of scholarship. In Paint and Piety. Collected Essays on Medieval Painting and Polychrome Sculpture, eds. N.L.W. Streeton & K. Kollandsrud. London: Archetype Publications, pp. 3?12. (6pp)
Reading: 108 pp
Seminar 4: Quiz, and Reading paint cross-sections
Lecture 5: Developments in European painting from the Renaissance to the Baroque
No?lle Streeton
Delemare, F. & Guineau, B. 2000. Colour. Making and Using Dyes and Pigments. London: Thames & Hudson, pp. 67?76.
*Dunkerton, J., Foister, S., Gordon, D. & Penny, N. 1999. D¨¹rer to Veronese: Sixteenth Century Painting in the National Gallery, New Haven/London: Yale/National Gallery, pp. 183¨C209, 265¨C291.
*Hirst, M., & Dunkerton, J. 1994. Making and Meaning. The Young Michelangelo. London: National Gallery, pp. 10¨C12, 37¨C46, 57¨C71 (plus references), 83¨C105, 107¨C126.
*Spring, M. 2004. 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 & A. Sgamellotti. Florence: Nardini Editore Florence, pp. 21¨C28.
*Heydenreich, G. 2007. ¡®¡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 k¨¹nstlerischen Praxis Lucas Cranachs d.?.¡¯. In Cranach der ?lter, ed. B. Brinkman (St?del Museum, Frankfurt am Main, 23 November 2007¨C17 February 2008), Frankfurt: St?del Museum, pp. 29¨C47.
€ Currie, C. & Allart, D. 2014. Pieter Brueghel as a copyist after Pieter Bruegel. In European Paintings 15th?18th Century: Copying, Replicating and Emulating. CATS Proceedings, I, 2012, ed. E. Hermens. London: Archetype Publications, pp. 1?11.
Lecture 6: The Rembrandt Research Project and its implications
No?lle Streeton
*van de Wetering, E. 1997. Rembrandt. The Painter at Work, Amsterdam: University of Amsterdam, pp. 6?23 (panels), 91?130 (canvas and grounds), 136?152 (palette), 160?169 (brushstrokes), 193?203 (glazing myth), 225?243 (binding media).
€ White, R. & Kirby, J. 1994. Rembrandt and his circle: seventeenth-century Dutch paint media re-examined¡¯, National Gallery Technical Bulletin 15, pp. 64-78.
*van Hout, N. 1998. Meaning and Development of the Ground-Layer in Seventeenth Century Painting. In Looking Through Paintings, Leids Kunsthistorisch Jaarboek 11, ed. E. Hermens. London: Archetype Publications, pp. 199?225.
*1960. The care of paintings: fabric paint supports. Museum 13/3, pp. 137?139.
* Ford, T.-O. & Fr?ysaker, T. 2007. Konservering av Peter Reimers altermalerier i Valle kirke, Lindesnes kommune i Vest-Agder, NIKU Rapport 13, Oslo: NIKU, pp. 3, 5¨C9, 12¨C14, 16¨C22 (illustrasjoner), 24¨C29 (snitt-tabeller).
*Fr?ysaker, T. 1998. 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¨C11 September 1998, London: IIC, pp. 180¨C184.
*Plahter, L.E. 1999. Thomas de Keysers familiescene. In Conservare Necesse Est, Festskrift til Leif Einar Plahter p? hans 70-?rsdag, ed. E. Skaug: Oslo: Nordisk Konservatorforbund, pp. 35¨C41.
*Plahter, U. 1999. Baburen re-examined. In Conservare Necesse Est, Festskrift til Leif Einar Plahter p? hans 70-?rsdag, ed. E. Skaug: Oslo: Nordisk Konservatorforbund, pp. 65¨C67.
Seminar 5: Condition reporting (Preparation: Condition Reporting - Paintings. Part I: Introduction - Canadian Conservation Institute (CCI) Notes 10/6 http://canada.pch.gc.ca/eng/1439925170484 )
Lecture 7: The 18th and 19th centuries: post-Enlightenment impact on colour
No?lle Streeton
Delemare, F. & Guineau, B. 2000. Colour. Making and Using Dyes and Pigments. London: Thames & Hudson, pp. 76?127.
*Lowengard, S. 2012. Prussian blue: transfers and trials. In The Materiality of Color. The Production, Circulation, and Application of Dyes and Pigments, 1400?1800, eds. A. Feeser, M. Daly Goggin & F. Fowkes Tobin. Farnham (UK): Ashgate, pp. 167?181.
€ Sauvage, L. & Gombaud, C. 2015. Liotard¡¯s pastels: techniques of an 18th-century pastellist. In Studying 18th Century Paintings and Works of Art on Paper. CATS Proceedings, II, 2014, eds. H. Evans & K. Muir. London & Copenhagen: Archetype Publications in association with the Centre for Art Technological Studies and Conservation, pp. 31?45
€ Slotsgaard, T.L. 2015. An investigation of the painting technique in portraits by Jens Juel. In Studying 18th Century Paintings and Works of Art on Paper. CATS Proceedings, II, 2014, eds. H. Evans & K. Muir. London & Copenhagen: Archetype Publications in association with the Centre for Art Technological Studies and Conservation, pp. 46?57.
€ Filtenborg, T. 2015. Canvas supports in paintings by Nicolai Abildgaard: fabrics and formats. In Studying 18th Century Paintings and Works of Art on Paper. CATS Proceedings, II, 2014, eds. H. Evans & K. Muir. London & Copenhagen: Archetype Publications in association with the Centre for Art Technological Studies and Conservation, pp. 128?139.
€ Gent, A., Morrison, R. & von Aderkas, N. 2015. ¡®1st olio after Capivi¡¯: copaiba balsam in the paintings of Sir Joshua Reynolds. In Studying 18th Century Paintings and Works of Art on Paper. CATS Proceedings, II, 2014, eds. H. Evans & K. Muir. London & Copenhagen: Archetype Publications in association with the Centre for Art Technological Studies and Conservation, 140?152.
*Plahter, L.E., & Plahter, U. 1988. J.C. Dahls malerier. En teknisk unders?kelse. In Johan Christian Dahl 1788?1857. Jubileumsutstilling 1988, Oslo: Nasjonalgalleriet, pp. 59?77.
* Lange, M.I. 2008. Peder Balke som h?ndv?rker, landskabsmaler og social reformator. I Peder Balke. Modernismens norske pioner, Krems & Copenhagen: Kunsthalle Krems and Ordrupgaar, pp. 11?27, esp. 21?23.
*Katz, Melissa R. 1995. 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 & M. Peek. Los Angeles: Getty Conservation Institute, pp. 158?165.
*Townsend, J.H. 2002. The materials used by British oil painters throughout the nineteenth century. Reviews in Conservation 3, pp. 46?55.
*Callen, A. 2000. The Art of Impressionism. Painting Technique and the Making of Modernity. New Haven/London: Yale University Press, pp. 111?126.
Seminar 6: Looking and seeing the surface of paintings (Nasjonalgalleriet)
Lecture 8: Edvard Munchs maleteknikk
Biljana Topalova-Casadiego
*Plahter, U. & Plahter, L.E. 2015. (Introduction) Munch¡¯s paintings: scientific research both recent and in retrospect. In Public Paintings by Edvard Munch and His Contemporaries: Change and Conservation Challenges, eds. T. Fr?ysaker, with N. Streeton, H. Kutzke, F. Hanssen-Bauer & B. Topalova-Casadiego. London: Archetype Publications, pp. 3?35.
*Topalova-Casadiego, B., 2008. Tekniske aspekter ved Edvard Munchs maleri. In G. Woll, Edvard Munch. Samlede Malerier. Catalogue Raisonn¨¦, bind II, Oslo: Cappelen and Damm, pp. 424¨C458.
*Landro, G., Topalova-Casadiego, B. & Ufnalewska-Godzimirska, M. 2008. Konserveringen av Munchmuseets Skrik. Unders?kelser og betraktninger. In Skrik (utstillingskatalog). Oslo: Munch-museet, pp. 57?74.
*Topalova-Casadiego, B. 2008. De to malte versjonene av Skrik. Fors?k p? en maleteknisk sammenligning. In Skrik (utstillingskatalog). Oslo: Munch-museet, pp. 87?99.
*Fr?ysaker, T. 2008. Bevaring av Edvard Munchs Aulamalerier f?r og n?, Kunst og Kultur 1, pp. 2?17.
*Fr?ysaker, T. & Liu, M. 2009. 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, pp. 44?61.
*Aslaksby, T.E. 2009. Det syke barn. Et maleri i forvandling ¨C teknikk og behandling. In Edvard Munch: Det syke barn, Historien om et mesterverk/The Sick Child, The Story of a Masterpiece, eds. O. Ustvedt & T.E. Aslaksby. Oslo: Nasjonalmuseet for kunst, arkitektur og design, pp. 57¨C85.
Note: For all interested in Munch, I recommend that you purchase the recent book:
Fr?ysaker et al. 2015. Public Paintings by Edvard Munch and His Contemporaries: Change and Conservation Challenges. London: Archetype Publications. ISBN: 9781909492387
Lecture 9: Modern and contemporary painting: the synthetic revolution
Thierry Ford
* Learner, T. & Crook, J. 2000. The Impact of Modern Paints, London: Tate Gallery, pp. 8?35, 84?97, 112?180 + glossary: 185?189.
*Kirsch, A. & Levenson, R.S. 2000. Seeing Through Paintings: Physical Examination in Art History Historical Studies 1, New Haven/London: Yale University Press, pp. 134?151.
*Januszczak, W., ed., 1980. Techniques of the World¡¯s Great Painters. Oxford: Phaidon, pp. 158?170, 172?181.
Qualifier: group presentations
---------------------------------------
Lecture 10 (9.15?11.00): Paint, painters and paintings: overview with Q&A
No?lle Streeton
€ Streeton, N.L.W. 2016. Writing histories for late-medieval objects: The engagement of conservation with theoretical perspectives on Material Culture', Studies in Conservation (print version 2017).
Exam posted 11.00 (same day as lecture 10)