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LECTURE 1
Introduction ¨C The Structure of Paintings
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).
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] (14s)
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)
ICOM Commission for the Care of Paintings, ¡®Fabric paint supports¡¯, Museum 13/3 (1960) 137-39. (7)
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] (5)
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. (20S)
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)
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Lecture 2
The Application of Scientific Analysis to the Study of Painting Techniques
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. [How technical study of painting first developed] (5s)
Bl¨¹hm, 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). [A review of some of the scientific advances that affected the study of art] (8s)
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] (7s)
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. (11s) [Basic introduction to some of the most commonly used analytical methods used in the examination of paintings]
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. (9s) [Basic introduction to analysis of paint and varnishes]
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. (9s)[Basic introduction to the major techniques used for analysis of organic materials in paintings]
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. (10s) [Introduction to the technique of dendrochronology]
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Lecture 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.
Lecture 4
Medieval Painting Techniques (c.1050 ¨C 1500) (Kaja Kollandsrud)
Campbell, Lorne; Foister, Susan, and Roy, Ashok, eds., The National Gallery Technical Bulletin 18: Early Northern European Painting, London (1997) 7-16. (9s)
Clarke, Mark, The Art of All Colours, Mediaeval Recipe Books for Painters and Illuminators, Archetype, London (2001) 1-39. (37s)
Skaug, Erling, Punch Marks from Giotto to Fra Angelico, Vol. I, IIC Nordic Group, Oslo (1994) 21-6.
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. (7s)
- Norway
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] (9s)
Plahter, Unn, ¡®The capital-lion from Vossestrand in Norway, an investigation of the polychromy¡¯, Pigments and colorants de l¡¯Antiquit¨¦ et du Moyen Age, ?ditions du centre national de la recherch¨¦ scientifique, Paris (1990) 273-81. (7s)
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. (12s)
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 f¨¹r Denkmalpflege 89, eds. E. Emmerling and C. Ringer, Munich (1997) 335-347. (8s)
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. (5s)
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. (4s)
- Italy
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 f¨¹r Denkmalpflege 89, eds. E. Emmerling and C. Ringer, Munich (1997) 361-87. (10s)
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. (2s)
- England
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] (8s)
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. (6s)
Woodworking and Panel making
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. (4s)
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.(4s)
Polychrome Sculpture: Theory
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] (8s)
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Optional reading:
For those who are especially interested in Norwegian / Scandinavian medieval painting and polychromy, and who wish to read further, you can obtain Unn Plahter¡¯s book and the new collection of studies dedicated to her in the library:
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.
Jilleen Nadolny (ed.) with Kaja Kollandsrud, Marie Louise Sauerberg and Tine Froysaker, Medieval Painting in Northern Europe: Technique, Analysis, Art History. Studies in Commemoration of the 70th Birthday of Unn Plahter, Archetype Publications, London (2006).
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, ¡®All that¡¯s burnished isn¡¯t bole. Reflections on medieval water gilding. Part I: Early medieval to 1300¡¯, Medieval Painting in Northern Europe: Technique, 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 Publications, London (2006) pp. 148-62.
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.
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).
Cession, Christine, ¡®The Surface Layers of Baroque Gildings: Examination, Conservation, Restoration¡¯, Cleaning, Retouching and Coatings: Preprints of the Contributions to the IIC Brussels Congress, 3-7 September 1990, eds. J. Mills and P. Smith, IIC, London (1990) 33-5.
Skaug, Erling, Punch Marks from Giotto to Fra Angelico, Vol. I, IIC Nordic Group, Oslo (1994) 12-14, 19-33, 54-69.
Gilded Relief Decoration
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.
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.
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Lecture 5
Major Technical Developments in Painting from the Renaissance to the Baroque
Dunkerton, J., Foister, S., Gordon, D. and Penny, N., Giotto to D¨¹rer: Early Renaissance Painting in the National Gallery, New Haven/London (1991) 152-204. [Description of the basic techniques used in painting to the 16th century]
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. [A scientific look at Van Eyck¡¯s binding media]
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. [A scientific look at Van Eyck¡¯s binding media: Part II]
Dunkerton, Jill; Foister, Susan; Gordon, Dillian and Penny, Nicholas, D¨¹rer to Veronese: Sixteenth Century Painting in the National Gallery, New Haven/London (1999) 183-209, 211-263, 265-91.
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.
Supports
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.
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.
Grounds
Dunkerton, Jill and Spring, Marika, ¡®The Development of Painting on Coloured Surfaces in Sixteenth-Century Italy¡¯, 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) pp. 120-30
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Lecture 6
Dutch Painting, Rembrandt & Vermeer
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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Lecture 7
Important developments of the 18th and 19th centuries
Boime, Albert, The Academy and French Painting in the Nineteenth Century, Phaidon, London (1971) pp. 1-8, 18-21, 36-43.
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) pp. 158-65.
Townsend, Joyce H.; Ridge, Jacqueline, and Hackney, Stephen, Pre-Raphaelite Painting Techniques: 1848-56, Tate Publishing, London (2004) pp. 9-19, 21-27, 39-49, 51-75, 112-123.
Townsend, Joyce H., ¡®The materials used by British oil painters throughout the nineteenth century¡¯, Reviews in Conservation 3 (2002) pp. 46-55.
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) pp. 176-85.
Townsend, Joyce H., ¡®Turner's use of materials, and implications for conservation¡¯, Turner's Painting Techniques in Context, ed. J. Townsend, UKIC, London (1995) pp. 5-11.
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.
Bl¨¹hm, 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.