The Materials Of Medieval Painting
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| Author | : Daniel V. Thompson |
| Publisher | : Courier Corporation |
| Total Pages | : 262 |
| Release | : 2012-05-11 |
| Genre | : Art |
| ISBN | : 0486142035 |
Medieval painters built up a tremendous range of technical resources for obtaining brilliance and permanence. In this volume, an internationally known authority on medieval paint technology describes these often jealously guarded recipes, lists of materials, and processes. Based upon years of study of medieval manuscripts and enlarged by laboratory analysis of medieval paintings, this book discusses carriers and grounds, binding media, pigments, coloring materials, and metals used in painting. It describes the surfaces that the medieval artist painted upon, detailing their preparation. It analyzes binding media, discussing relative merits of glair versus gums, oil glazes, and other matters. It tells how the masters obtained their colors, how they processed them, and how they applied them. It tells how metals were prepared for use in painting, how gold powders and leaf were laid on, and dozens of other techniques. Simply written, easy to read, this book will be invaluable to art historians, students of medieval painting and civilization, and historians of culture. Although it contains few fully developed recipes, it will interest any practicing artist with its discussion of methods of brightening colors and assuring permanence. "A rich feast," The Times (London). "Enables the connoisseur, artist, and collector to obtain the distilled essence of Thompson's researches in an easily read and simple form," Nature (London). "A mine of technical information for the artist," Saturday Review of Literature.
| Author | : Daniel V. Thompson |
| Publisher | : |
| Total Pages | : 240 |
| Release | : 2019-07-21 |
| Genre | : Art |
| ISBN | : 9781684223688 |
2019 Reprint of 1936 U.S. Edition. Full facsimile of the original edition, not reproduced with Optical Recognition software. Professor Thompson has written an extremely interesting and valuable book on a subject very rarely dealt with, the materials used by medieval painters, or as he calls it, " the cookery of art." In the first chapter the author discusses the various types of surfaces employed by the medieval painters, such as parchment, vellum, wood, walls, and canvas. In chapter two he deals with the different binding media that had to be used to bind the pigments to the different types of surfaces. The third and longest chapter deals with the pigments themselves. This book, written in a very pleasing style, will appeal not only to those interested in medieval painting itself, but to anyone who wishes further knowledge on various medieval plants, and on certain chemical problems of the Middle Ages.
| Author | : Mark Clarke |
| Publisher | : Archetype Publications |
| Total Pages | : 0 |
| Release | : 2011 |
| Genre | : Artists' materials |
| ISBN | : 9781904982647 |
Medieval painting was a craft. The anonymous Montpellier Liber diversarum arcium ('Book of various arts') is a handbook prescribing how that craft was to be practiced. It contains over five hundred art-technological instructions or 'recipes' in Latin. Unlike the vast majority of medieval artists' recipe books, this content is highly structured and organised, such as to form a complete handbook or course on painting. This Liber diversarum arcium is probably the most substantial and comprehensive medieval painters' technical recipe book to survive. It summarises the state-of-the art in the European workshops of the fourteenth century. This volume makes the Liber diversarum arcium usable to modern readers for the first time, by restoring the text in over 150 places where its corruption obscures the technical sense, by translating the text into English, and by providing a running commentary to explain the technical processes and technical terminology.
| Author | : Unn Plahter |
| Publisher | : Archetype Publications |
| Total Pages | : 312 |
| Release | : 2006 |
| Genre | : Art |
| ISBN | : |
This text of analytical and art historical research on medieval painting and polychromy is published to commemorate the 70th birthday of Unn Plahter.
| Author | : Janetta Rebold Benton |
| Publisher | : Praeger |
| Total Pages | : 356 |
| Release | : 2009-08-27 |
| Genre | : Art |
| ISBN | : |
A comprehensive and informed analysis explores the startlingly diverse and sophisticated fine arts in the Middle Ages. Materials, Methods, and Masterpieces of Medieval Art provides a comprehensive and detailed analysis of the work done by artists in western Europe during the Middle Ages. Art historian Janetta Rebold Benton uses examples such as the Book of Kells, Bury Saint Edmunds Cross, and the Bayeux Tapestry, and the work of artists such as Jan van Eyck and Giotto to explore the various media available to medieval artists and the ways in which those media were used to create a stunning array of masterworks. Although the visual arts of the Middle Ages were extremely colorful, today much of that color has diminished or disappeared, the pigments and threads faded, the gold abraded, the silver tarnished. Materials, Methods, and Masterpieces of Medieval Art allows these works to sparkle once more. Includes 76 illustrations
| Author | : Lawrence Nees |
| Publisher | : Oxford University Press, USA |
| Total Pages | : 274 |
| Release | : 2002 |
| Genre | : Art |
| ISBN | : 9780192842435 |
Earliest Christian art - Saints and holy places - Holy images - Artistic production for the wealthy - Icons & iconography.
| Author | : Grażyna Jurkowlaniec |
| Publisher | : Routledge |
| Total Pages | : 428 |
| Release | : 2017-09-22 |
| Genre | : Art |
| ISBN | : 1351681494 |
This volume explores the late medieval and early modern periods from the perspective of objects. While the agency of things has been studied in anthropology and archaeology, it is an innovative approach for art historical investigations. Each contributor takes as a point of departure active things: objects that were collected, exchanged, held in hand, carried on a body, assembled, cared for or pawned. Through a series of case studies set in various geographic locations, this volume examines a rich variety of systems throughout Europe and beyond. The Open Access version of this book, available at http://www.taylorfrancis.com/doi/view/10.4324/9781315401867, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license
| Author | : Wendy A. Stein |
| Publisher | : Metropolitan Museum of Art |
| Total Pages | : 138 |
| Release | : 2016-10-07 |
| Genre | : Art |
| ISBN | : 1588395979 |
The intensely expressive art of the Middle Ages was created to awe, educate and connect the viewer to heaven. Its power reverberates to this day, even among the secular. But experiencing the full meaning and purpose of medieval art requires an understanding of its narrative content. This volume introduces the subjects and stories most frequently depicted in medieval art, many of them drawn from the Bible and other religious literature. Included among the thirty-eight representative works are brilliant altarpieces, stained-glass windows, intricate tapestries, carved wood sculptures, delicate ivories, and captivating manuscript illuminations, all drawn from the holdings of the Metropolitan Museum, one of the world's most comprehensive collections of medieval art. Iconic masterworks such as the Merode Altarpiece, the Unicorn Tapestries, and the Belles Heures of the duc de Berry are featured along with less familiar work. Descriptions of the individual pieces highlight the context in which they were made, conveying their visual and technical nuances as well as their broader symbolic meaning. With its accessible informative discussions and superb full-color illustrations, How to Read Medieval Art explores the iconographic themes of the period, making them clearly recognizable and opening vistas onto history and literature, faith and devotion.
| Author | : Daniel V. Thompson |
| Publisher | : Courier Corporation |
| Total Pages | : 175 |
| Release | : 2012-06-22 |
| Genre | : Art |
| ISBN | : 0486141640 |
Tempera painting, the method in which colors are mixed with some binding material other than oil (primarily egg yolk), is the earliest type of painting known to man. The wall paintings of ancient Egypt and Babylon are tempera, as are many of the paintings of Giotto, Lippi, Botticelli, Raphael, Titian, Tintoretto, and many other masters. But in spite of the time-proven excellence of this technique — which boasts many clear advantages over oil paint — it does not receive the degree of attention from modern painters that it deserves. Part of the explanation for this neglect, surely, is the absence of sufficient information about the materials and procedures involved in tempera painting. The present volume, in fact, is virtually the only complete, authoritative, step-by-step treatment of the subject in the English language, D.V. Thompson wrote this book after an exhaustive study, over many years, of countless medieval and Renaissance manuscripts in the British Museum and elsewhere, and is unquestionably the world's leading authority on tempera materials and processes. Beginning with an introductory chapter on the uses and limitations of tempera, the author covers such topics as the choice of material for the panel; propensities of various woods; preparing the panel for gilding; making the gesso mixture; methods of applying the gesso; planning the design of a tempera painting; use of tinted papers; application of metals to the panel; tools for gliding; handling and laying gold; combination gold and silver leafing; pigments and brushes; choice of palette; mixing the tempera; tempering and handling the colors; techniques of the actual painting; mordant gilding; permanence of tempera painting; varnishing; and artificial emulsion painting. The drawings and diagrams, illustrating the various materials and techniques, infinitely increase the clarity of the discussions. As a careful exposition of all aspects of authentic tempera painting, including many of the possible modern uses for this ancient method, this book actually stands alone. No one who is interested in tempera painting as a serious pursuit can afford to be without it.
| Author | : Arie Wallert |
| Publisher | : Getty Publications |
| Total Pages | : 241 |
| Release | : 1995-08-24 |
| Genre | : Art |
| ISBN | : 0892363223 |
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
