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Late Medieval Panel Paintings II
This book is an exemplary investigation of a series of, so far, poorly documented works that will prove of great interest to those in the field. Most of the 15th- or early 16th-century panel paintings presented here are northern European, a large number German, which have been neglected in English language studies. They are all almost unknown, and certainly none of them have been subjected to modern techniques of investigation - infrared, x-ray, micro-photography - until now.0Exhibition: Sam Fogg, New York.
Let the Material Talk
"Let the Material Talk presents the results of a pioneering interdisciplinary research project into Cologne panel painting between 1400 and 1450. The Wallraff-Richtartz-Museum & Fondation Corboud in Cologne and the Bayerische Staatsgemäldesammlungen along with the Doerner Institut in Munich spent three years examining almost 30 single- and multiple-panel works using the latest imaging and analytical techniques, obtaining significant insights not least into the dating of the paintings and the links between the workshops that produced them. Detailed scientific contributions, an extensive catalogue section, mappings and numerous illustrations cast light on the works of art in a whole variety of exciting ways, demonstrating the extent of the interaction between the findings of art technology, science and art history" -- Contracoberta.
Medieval Painting in Northern Europe
This text of analytical and art historical research on medieval painting and polychromy is published to commemorate the 70th birthday of Unn Plahter.
Pigments of English Medieval Wall Painting
In Pigments of English Medieval Wall Painting, the author demonstrates that the techniques of wall painting in medieval England were far more complex than had previously been supposed. This is the first systematic analysis of the pigments employed in medieval wall paintings in northern Europe, covering an extensive selection of schemes from a variety of sites including parish churches, cathedrals and abbeys (Canterbury, Westminster, Norwich, Winchester, St Albans, Sherborne and Durham). The nature and extent of the palette used is revealed as well as the sophistication with which pigments were applied to achieve differing effects. Thirty pigments are detected including four previously unknow...
The Structural Conservation of Panel Paintings
This volume presents the proceedings of an international symposium organized by the Getty Conservation Institute and the J. Paul Getty Museum. The first conference of its kind in twenty years, the symposium assembled an international group of conservators of painted panels, and gave them the opportunity to discuss their philosophies and share their work methods. Illustrated in color throughout, this volume presents thirty-one papers grouped into four topic areas: Wood Science and Technology, History of Panel-Manufacturing Techniques, History of the Structural Conservation of Panel Paintings, and Current Approaches to the Structural Conservation of Panel Paintings.
English Panel Paintings, 1400-1558
The art of East Anglia was pre-eminent during the late thirteenth and the first half of the fourteenth century. Wooden screens with painted panels were one of the most essential fittings of late pre-Reformation churches, serving both to protect the high altar and to define the division between the chancel and the nave and aisles. Whereas very few screens dating from the thirteenth and fourteenth centuries survive, the extant fifteenth-century rood-screen paintings in East Anglia form the largest body of late mediaeval painting to be found in England. Details of more than a thousand panels from over one hundred screens are listed, described and in many cases illustrated in this volume, accompanied by commentaries on their design, techniques and materials used in their making and who paid for them.
Portable Panel Paintings at the Angevin Court of Naples
This book explores the mobilities and materialities of panel painting at and beyond the Angevin court of Naples in the context of objects, materials, patrons, and painters on the move through the fourteenth-century world. It asks how panel paintings participated in and thematized patterns of circulation and exchange; how they extended the artistic and political geography of the court far beyond Naples itself; how their materialities intersected with other mediums from woven silk to precious metalwork to stone; and how painters' formal and technical experimentation combined with painted panels' real and imagined itineraries to create meaning. The volume traces a series of painted panels throu...
The Materials and Techniques of Medieval Painting
Sums up 20th-century knowledge: paints, binders, metals, surface preparation. Based on manuscripts and scientific investigation.
Byzantine Art and Italian Panel Painting
Jaroslav Folda traces the appropriation of the Byzantine Virgin and Child Hodegetria icon by thirteenth-century Crusader and central Italian painters and explores its transformation by the introduction of chrysography on the figure of the Virgin in the Crusader Levant and in Italy.
