Notice catalographique « The artist's process : technology and interpretation: proceedings of the fourth symposium of the Art Technological Source Research Working Group »

• Eyb-Green, Sigrid
• Townsend, Joyce H.
• Clarke, Mark
• Nadolny, Jilleen
• Kroustallis, Stefanos

Foreword

Acknowledgements


From source to chronology: studies on macro-scale behaviour in art technology
Nicholas Eastaugh

Living sources: experts, masters and practitioners
Timea Tallian

Some thoughts on realia: material sources for art technological source research
Ad Stijnman

Judging art: lawsuits involving the painter and sculptor Alonso Berruguete as sources for art technology
Rocio Bruquetas and Stefanos Kroustallis

Reworking and reuse: adaptation and use in workshop texts
Mark Clarke

A short-title bibliography of the Secreti by Alessio Piemontese
Ad Stijnman

Theophilus: a methodological approach to reading an art technological source
Doris Oltrogge

A unique 12th-century illuminator’s treatise: an original composition incorporated in the Brussels Compendium artis picturae
Mark Clarke

‘The book on how one makes colours of all shades in order to illuminate books’ revisited
Catarina Miguel, Adelaide Miranda, Marisa Oliveira, Maria João Melo and Mark Clarke

A glimpse of the Renaissance: colours and geometrical patterns on a southern German game board of the late 16th century
Sabine Formánek

Identifying 16th-century paints on silver using a contemporary manuscript
Tamar Davidowitz, Tonny Beentjes, Joosje van Bennekom and Sara Creange

Saffron for purity: raw materials for the production of coloured glazes in 16th-century German recipes
Christoph Krekel and Helena Fuertes

An unknown art technological source for Austrian Baroque art: the diary of Abbot Hieronymus Übelbacher of Dürnstein for 1710-40
Manfred Koller

Raised decorations applied to Baroque polychrome sculpture in Coimbra, Portugal: the production of painter-gilders or sculptors?
Agnès Le Gac, Ana Isabel Seruya, Jean Bleton, Sung Voduy and José Carlos Frade

‘To prepare white excellent…’: reconstructions investigating the influence of washing, grinding and decanting of stack-process lead white on pigment composition and particle size
Maartje Stols-Witlox, Luc Megens and Leslie Carlyle

De Groote Waereld in ‘t Kleen Geschildert (The Big World Painted Small): a Dutch 17th-century treatise on oil painting technique
Arie Wallert

Sources for the study of pigments used by Goya and other 18th-century Spanish painters
Rocio Bruquetas

Instructions on the making of pastel crayons and their use in pastel painting: a manuscript in the Rijksmuseum, Amsterdam
Idelette van Leeuwen, Arie Wallert, Cécile Gombaud and Joana Pedroso

Ernst Berger and the late 19th-century Munich controversy over painting materials
Kathrin Kinseher

Reconstruction and imaging of copy press samples
Agathi Anthoula Kaminari, Athina Alexopoulou, Penelope Banou, Philip Miller Tate and Eileen M. Buckley-Dhoot

Exploring an artist’s practice: Edvard Munch’s paint tubes
Hartmut Kutzke and Biljana Topalova-Casadiego

Interpreting Van Gogh’s plein air painting practice: written sources versus painted image
Devi Ormond, Teio Meedendorp, Muriel Geldof, Luc Megens and Kathrin Pilz

Bernsteinlack, Vernis Vibert and Weimarweiß: the letters of Lyonel Feininger (1871-1956) as a key source for his painting technique
Albrecht Pohlmann


Shorter papers from poster presentations

A virtual colour reconstruction project for Romanesque wall painting in Sixena, Spain
Rosa M. Gasol

The painting process in the Bishop’s Chapel in Gurk, Carinthia (Austria)
Markus Santner, Wolfgang Baatz, Renáta Burszán and Jörg Riedel

Regraxar or glazing: aspects of this technique in a group of Portuguese paintings attributed to Francisco João (active 1563-95)
Helena Pinheiro de Melo, António João Cruz, Jana Sanyova, António Candeias, José Mirão, Sara Valadas

In search of van Mander’s primuersel: coloured intermediate layers in early 16th-century Netherlandish paintings
Abbie Vandivere

Ground layers in Portuguese Baroque polychrome wooden sculptures: analytical results versus documentary sources
Carolina Barata, António João Cruz, Jorgelina Carballo, João Coroado and Maria Eduarda Araújo

An approach to the analysis of Swedish painted wall hangings (1700-1870)
Ingalill Nyström

J.W. Schirmer’s 19th-century use of grisaille underpainting
Börries Brakebusch

Industrial development of plastics and 20th-century art: new synergies
Silvia García Fernández-Villa, Margarita San Andrés Moya and Selina Blasco

Sabu colours: vinyl artists’ paints from the 1960s
Joana Lia Ferreira, Maria João Melo and Ana Maria Ramos

Ole Kandelin’s painting processes and materials
Suvi Leukumaavaara and Seppo Hornytzkyj

Restoring Francesc Artigau’s paintings from 1966
Anna Nualart Torroja, M. José González Madrid, Marina Mascarella Vilageliu and Marta Oriola Folch

Materials and painting processes of Pedro Cabrita Reis: the artist’s memory versus materials analysis
Ana Cudell, António João Cruz, Ana Martins, Jorgelina Carballo, Ana Calvo and Sandra Saraiva

Around Theophilus: an expert meeting towards new standards in Theophilus scholarship
Mark Clarke and Ad Stijnman

• Art and technology
• Art and technology - Congresses
• Art - Technique
• Art - Technique - Congresses
• Art et technologie
• Art et technologie - Congrès
• Art - Technique - Congrès