Preparation for Painting: The Artist's Choice and Its Consequences
&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.
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preparation for a portrait of a saint
historical practices for bleaching artists linen
Imaging chemical characterisation of preparatory layers in fifteenth and sixteenthcentury northern
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acrylic emulsion alkyd analysis animal glue Anna Ancher applied areas artists binder binding medium bleaching Boon BSE images canvas paintings Carlyle Cennini century chalk ground composition Conservation cracks Cranach cross-section darkened deionised water drying oil fibres Figure fillers flax flour FTIR gesso glue Gore ground layer historical icon imprimatura ion polishing isolation layer kaolin Kauffmann layer of lead lead soaps lead white lead white oil linen linseed oil Liquitex London Louvre materials Mauritshuis microscopy mixture Museum National Gallery oil paint paint films paint layers paint samples painters painting technique panel paintings parchment Paris pastel Peinture Philippines Pierre Soulages pigment Potash lye preparatory layers prepared priming reconstructions resin Rubens shows Sickert Skaug Soulages St Gallen streaks stretcher surface surfactant Table Talens temperature thick thin threads Ti02 paint tion transparent paintings Treatment cycles turpentine underdrawing varnish Winsor & Newton wood