Preparation for Painting: The Artist's Choice and Its Consequences
Archetype Publications, 2008 - 186 pages
& Quot;The aesthetic qualities of a painted work of art are determined by composition, the colours used and the application method. Equally important are the support and its preparation. Preparatory layers are fundamental to the creative process and to the perception of the work: they influence the final surface texture, the paints' luminosity and the durability of a painting. For centuries painters were well aware of these facts and took great care in this stage of the process." "These papers were presented at the first conference devoted to preparatory layers used by artists, organised by the working group 'Paintings: scientific study, conservation and restoration' within the Conservation Committee of the International Council of Museums (ICOM-CC) in 2007 at the British Museum, London." "A wide range of issues is covered including the consideration of the preparatory layer(s)' function: optical properties, terminology, as well as materials and techniques used in the preparation of more unusual supports. The results of technical examination, experimental reconstruction and analysis of documentary sources provide fascinating insights into the relationships between supports, preparatory layers and artistic forms of expression; they offer new insights on the origin and dissemination of certain techniques and related questions of artistic exchange. Furthermore, the influence of preparatory layers on mechanical properties, changes in appearance and deterioration as well as the impact on conservation treatment decisions are explored. The influence of the environment on traditional and modern materials is addressed."--Jacket.
Avis des internautes - Rédiger un commentaire
Aucun commentaire n'a été trouvé aux emplacements habituels.
preparation for a portrait of a saint
Not just panel and ground
historical practices for bleaching artists linen
7 autres sections non affichées
acrylic addition analysis appears applied areas artists binder bleaching brown canvas carbon Carlyle century chalk chalk ground changes coat colour composition Conservation consisting containing cover cracks cross-section described detail drying early effect emulsion evidence examined example fibres Figure fillers flour Gallery gesso glue ground ground layer historical icon identified images important imprimatura included increased indicate Institute isolation Italy lead soaps lead white less light linen lines linseed London materials measured mechanical medium method mixture Museum Notes observed oil paint original paint layers painters panel Paris particles pigment possible practice prepared present priming production properties recipe reconstructions References samples shows similar sources strain structure suggests surface Table technique temperature term testing thick thin threads tion transparent treatment University varnish wood