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LECTURE 1
A History of Painters' technology: Introduction
Carlyle, Leslie 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. (4s).
Blok, Cor, ‘Artistic Craftsmanship in the Age of Impatience’, in Looking Through Paintings, ed. E. Hermens, de Prom and Archetype, Baarn and London (1998) pp. 501-515.
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).
LECTURE 2
Supports to Varnishes
Bomford, David; Dunkerton, Jill; Gordon, Dillian and Roy, Ashok, : Art in the Making: Italian Painting Before 1400, London (1989) 17-26 (7s).
Dunkerton, J., Foister, S., Gordon, D. and Penny, N., : Giotto to Dürer: Early Renaissance Painting in the National Gallery , New Haven/London (1991) 152-204 (30s).
ICOM Commission for the Care of Paintings, ‘Fabric paint supports’: Museum , 13/3 (1960) 137-41 (4s).
Landi, S. : The Textile Conservator’s Manual, 2nd ed., Butterworth-Heinemann, Oxford (1992) 8-12, 21-24 (9s).
Mora, Paolo; Mora, Laura, and Philippot, Paul: Conservation of Wallpaintings, Butterworths, London (1984) 11-16, 56-68.
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 (16s).
Orna, Mary Virginia, and Madeline P. Goodstein: Chemistry and Artists Colors, 2nd ed., College of New Rochelle, New Rochelle (1993) #-# (section on pigments).
Stulik, Dusan, 'Chapter 2: Paint', in : The Science of Paintings, eds. S. Taft and J.W. Mayer, Springer-Verlag, New York (2000) 12-25 (14s).
Taft, S. and Mayer, J.W., eds., 'Chapter 1: The Structure and Analysis of Paintings', in : The Science of Paintings, Springer-Verlag, New York (2000) 1-11 (11s).
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 (20s).
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 (14s).
Villers, C., ‘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).
Véliz, Zahira, ‘Wooden Panels and Their Preparation for Painting from the Middle Ages to the Seventeenth Century in Spain’, 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) 136-48.
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 (20s).
Lecture 3
The application of scientific analysis to the study of historical painting technique
Baer, Norbert S., and Low, Manfred J.D., ‘Advances in Scientific Instrumentation for Conservation: an Overview’, in Science and Technology in the Service of Conservation; Preprints of the Contributions to the Washington Congress, 3-9 September 1982, eds. N.S. Brommelle and G. Thompson, IIC, London (1982) 1-4.
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), 118-9 (photography), 180 (the light bulb), 184 (art under arc light).
Bomford, David, ‘The Purposes of Technical Art History’, IIC Bulletin I (2002) 4-7.
Gettens, Rutherford J., ‘Proposal for a Handbook on Analysis of Materials of Paintings’, in Recent Advances in Conservation. Contributions to the IIC Rome Conference, 1961, Butterworths, London (1963) 26-7.
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.
Kultermann, Udo, The History of Art History, Abaris Books, New York (1993) 3, 12-13, 30-1, 47, 53-55.
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) 206-15.
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) 64-79.
Nadolny, Jilleen, 'The first century of published scientific analyses of the materials of historical painting and polychromy, circa 1780-1880', Reviews in Conservation 4 (2003) 39-51.
Newman, Richard, ‘Organic Binders: Analytical Procedures’, in The Science of Paintings, eds. S. Taft and J.W. Mayer, Springer-Verlag, New York (2000) 168-79.
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.
Roy, Ashok, ‘Forbes Prize Lecture 1998’, IIC Bulletin, No. 6 (1998) 1-5.
Roy, Ashok, ‘Van Eyck’s Technique: The Myth and the Reality, I’, in Investigating Jan van Eyck, eds. S. Foister, S. Jones and D. Cool, Brepols, Turnhout (2000) 97-100.
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.
White, Raymond, ‘Van Eyck’s Technique: The Myth and the Reality, II’, in Investigating Jan van Eyck, eds. S. Foister, S. Jones and D. Cool, Brepols, Turnhout (2000) 101-5.
Wainwright, Ian N.M., ‘Examination of Paintings by Physical and Chemical Methods’, in Shared Responsibility: proceedings of a seminar for curators and conservators, National Gallery of Canada, Ottawa (1989) 79-102.
Lecture 4
Medieval techniques to 1350. Guest lecturer: Unn Plahter
Bomford, David; Dunkerton, Jill; Gordon, Dillian and Roy, Ashok, Art in the Making: Italian Painting Before 1400, London (1989) 11-51.
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) 360-87.
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.
Kargère, Lucretia G., ‘The Montvianex Madonna: materials and techniques in 12th-century Auvergne’, ICOM Preprints, 13th Triennial Meeting, Rio de Janiero, Vol. 2, ed. R. Vontobel, James and James, London (2002) 507-12.
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.
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, 146-9.
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.
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.
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.
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.
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.
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) 446-54.
Skaug, Erling, ‘Pre-Eyckian oil painting in Catalonia: the Abbegg frontal – a piece in the puzzle’, Norwegian Medieval Altarfrontals, ACTA ad Achaeologiam et Artivm Historiam Pertinentia, Institvtvm Romanvm Norvegiae XI, eds. M. Malmanger, L. Berczelly and S. Fuglesang, Rome (1995) 30-6.
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
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.
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.
Lecture 5
Gilding: A history
Bomford, David; Dunkerton, Jill; Gordon, Dillian and Roy, Ashok, Art in the Making: Italian Painting Before 1400, The National Gallery, London (1989) 21-6.
Broch Flemestad, Kirsten, and Skaug, Erling, ‘Kildemateriale for middelaldermaleri. Laugsstatuttene for malere og billedskj?rere i Paris 1268 og 1391’, Universitetets Oldsaksamling ?rbok 1980/1981 (1981) 119-32 (143).
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.
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) 376-7.
Dunkerton, J., Foister, S., Gordon, D. and Penny, N., Giotto to Dürer: Early Renaissance Painting in the National Gallery, New Haven/London (1991) 152-204.
Kargère, Lucretia G., ‘The Montvianex Madonna: materials and techniques in 12th-century Auvergne’, ICOM Preprints, 13th Triennial Meeting, Rio de Janiero, Vol. 2, ed. R. Vontobel, James and James, London (2002) 507-12.
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.
Nadolny, Jilleen, The techniques and use of gilded relief decoration by northern European painters, c. 1200-1500, Vol. I, Unpublished PhD thesis, Courtauld Institute of Art, London (2001) 155-83.
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.
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) 337-8, 344.
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).
Skaug, Erling, ‘Cenniniana: Notes on Cennino Cennini and his treatise’, Arte Cristiana 81/1 and 2 (1993) 16-8.
Skaug, Erling, Punch Marks from Giotto to Fra Angelico, Vol. I, IIC Nordic Group, Oslo (1994) 12-14, 19-33, 54-69.
Skaug, E., ‘Punch marks and sgraffito in the Santa Maria Maggiore Madonna: a 12th-century pioneer case?’, in L’”Immagine antica” della Madonna col Bambino di Santa Maria Maggiore. Studi e restauro, eds. M. Ciatti and C. Frosinini, Edizioni Firenze, Florence (2002) 63-8.
Lecture 6 Part I
Documentary materials for the study of medieval technique: Part I: Guild ordinances, contracts, purchase records and the workshop
Baxandall, Michael, The Limewood Sculptors of Renaissance Germany, Yale University Press, New Haven/London (1980) 106-16.
Bomford, David; Dunkerton, Jill; Gordon, Dillian and Roy, Ashok, Art in the Making: Italian Painting Before 1400, London (1989) 6-11.
Broch Flemestad, Kirsten, and Skaug, Erling, ‘Kildemateriale for middelaldermaleri. Laugsstatuttene for malere og billedskj?rere i Paris 1268 og 1391’, Universitetets Oldsaksamling ?rbok 1980/1981 (1981) 119-43.
Dunkerton, Jill, Foister, Susan, Gordon, Dillian and Penny, Nicholas, Giotto to Dürer: Early Renaissance Painting in the National Gallery, New Haven/London (1991) 122-51.
Englefield, W.A.D., The History of the Painter-Stainers Company of London, Hazell, Watson & Viney Ltd., London (1950) 28-35, 46-53, 58-60.
Nadolny, Jilleen, 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, 94-100.
Skaug, Erling, Punch Marks from Giotto to Fra Angelico, Vol. I, IIC Nordic Group, Oslo (1994) 22-6.
Thompson, Daniel V., Jr., ‘The Study of Medieval Craftsmanship’, Bulletin of the Fogg Art Museum, Harvard University 3, supplementary issue (October, 1934) 3-7.
Lecture 6 Part II
Documentary materials for the study of medieval technique: Part II: Treatises for Medieval Technique
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.
Skaug, Erling, ‘Cenniniana: Notes on Cennino Cennini and his treatise’, Arte Cristiana 81/1 and 2 (1993) 15-22.
Skaug, Erling, Punch Marks from Giotto to Fra Angelico, Vol. I, IIC Nordic Group, Oslo (1994) 21-2.
Nadolny, Jilleen, The Techniques and Use of Gilded Relief Decoration by Northern European Painters, c. 1200-1500, Vol. II, Unpublished PhD Thesis, Courtauld Institute, London University (2001) 393-400.
Lecture 7
Major Tehcnical Developments in Painting from the Renaissance to the Baroque
Colalucci, Gianluigi, ‘The Frescoes of Michelangelo on the Vault of the Sistine Chapel: Original Technique and Conservation’, The Conservation of Wall Paintings. Proceedings of a symposium organized by the Courtauld Institute of Art and the Getty Conservation Institute, London, July 13-16, 1987, S. Cather ed., The Getty Conservation Institute, Marina del Ray (1991) 67-76.
Dunkerton, Jill; Foister, Susan; Gordon, Dillian, and Penny, Nicholas, Giotto to Dürer: Early Renaissance Painting in the National Gallery, New Haven/London (1991) 122-151, 152-204, and 205-10.
Dunkerton, Jill; Foister, Susan; Gordon, Dillian and Penny, Nicholas, Dürer to Veronese: Sixteenth Century Painting in the National Gallery, New Haven/London (1991) 183-209, 211-263, 265-91.
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.
Maclehose, Louisa S., transl., 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) [first published 1907] 1-5, 212-5, 223-39.
Mora, Paolo; Mora, Laura, and Philippot, Paul, Conservation of Wall Paintings, Butterworths, London etc. (1984) 138-164. [first published as La conservation des peintures murales, Bologna (1977)]
Rothe, Andrea, 'Andrea Mantegna's Adoration of the Magi’, 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) 111-6.
Lecture 8
Dutch Painting
N. van Hout, ‘Meaning and Development of the Ground-Layer in Seventeenth Century Painting’, in Looking Through Paintings, Leids Kunsthistorisch Jaarboek 11, ed. E. Hermens, London/Baarn (1998) 199-225.
van de Wetering, E., Rembrandt. The painter at work, 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 Eikema Hommes, Margriet, ’Painter’s Methods to Prevent Colour Changes Described in Sixteenth to Early Eighteenth Century Sources on Oil Painting Techniques’, in Looking Through Paintings, Leids Kunsthistorisch Jaarboek 11, ed. E. Hermens, de Prom and Archetype, Baarn and London (1998) 91-131.
Lecture 9
Technical Changes in England: techniques of Turner and the Pre-Raphaelites. Guest Lecturer: Dr. Joyce Townsend, Tate Gallery, London.
Katz, Melissa R. "William Holman Hunt and the "Pre-Raphaelite Technique" I: Historical Painting Techniques, Material, and Studio Practice, redigert av A. Roy & P. Smith, IIC, London 1998, pp. 158-65.
Townsnend, Joyce H. "Ridge, Jacqueline and Hackney, Stephen " I: Pre-Raphaelite Painting Techniques: 1848-56, Tate Publishing London 2004. Les 9-19, 21-27, 39-49, 51-75, 112-123.
Townsend, Joyce H. "The materials used by British oil painters througout the nineteenth century": Reviews in Conservation , 3 (2003), pp. 46-55.
Townsend, Joyce "Painting Techniquess and Materials of Turner and Other British Artists 1775-1875": Historical Painting Techniques, Materials, and Studio Practice, redigert av A.Roy & P. Smith, IIC, London 1998. pp. 176-185.
Townsend, Joyce H. "Turner's use of materials, and implications for conservation": Turner's Painting Techniques in Contex, redigert av J. Townsend, UKIC, London 1995, pp. 5-11.
Opptional Further Reading
Egerton, Judy, The Fighting Temeraire: Making and Meaning, National Gallery Publications, London (1995).
Townsend, Joyce, Turner’s Painting Techniques, Tate Publishing, London (1999).
Lecture 10
Impressionism (and the major developments of the late-18th and 19th centuries)
Callen, Anthea, Techniques of the Impressionists, Tiger Books International, London (1988) 8-20, 25-8, 31, 58-61, 157, 186-9.
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.
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), 118-9 (photography), 180 (the light bulb), 184 (art under arc light).
Lecture 11
Modern and Contemporary Painting: The Synthetic Revolution
Learner, Tom and Crook, Jo, The Impact of Modern Paints, Tate Gallery, London (2000) 8-35, 84-97, 112-81, 185-9.
Kirsch, Andrea and Levenson, Rustin S., Seeing Through Paintings; Physical Examination in Art History Historical Studies 1, Yale University Press, New Haven/London (2000) 136-51.