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Laboratories of Art
This book explores the interconnections and differentiations between artisanal workshops and alchemical laboratories and between the arts and alchemy from Antiquity to the eighteenth century. In particular, it scrutinizes epistemic exchanges between producers of the arts and alchemists. In the fifteenth and sixteenth centuries the term laboratorium uniquely referred to workplaces in which ‘chemical’ operations were performed: smelting, combustion, distillation, dissolution and precipitation. Artisanal workshops equipped with furnaces and fire in which ‘chemical’ operations were performed were also known as laboratories. Transmutational alchemy (the transmutation of all base metals in...
Theorising the Artist Interview
Reflecting on the relationship between artists and their audiences, this book examines how artists have presented themselves publicly through interviews and sought to establish a critical voice for themselves. Considering the interview as a form of cultural production, contributors explore the criteria for determining the artist interview as a distinct field of research in relation to other cultural fields. Structured in four parts, ‘History and Historiography’, ‘Subverting the Biographical Model’, ‘Interviews as Practice’ and ‘Materiality and Technology’, the book takes an interdisciplinary approach that encompasses the fields of art history, fine art, oral history, curating, media studies and museum conservation. By theorising the artist interview as a form of cultural production and embracing it as a co-constructed critical practice, this volume aims to show and encourage an approach to art history which dismantles old hierarchies in favour of valuing dialogue and collaboration. The book will be of interest to scholars working in art history, museum studies, oral history and historiography.
The Varnish and the Glaze
"Both medieval panel painters and those working in the fifteenth century created works that evoke the glow of precious stones, the sheen of polished gold and silver, and the colorful radiance of stained glass. Yet their approach to rendering these materials is markedly different. Marjolijn Bol explores some of the reasons behind this radical transformation by telling the history of the two oil painting techniques used to depict everything that glistens and glows-the varnish and the glaze. For more than a century after his death, the fifteenth century painter Jan van Eyck was widely credited with the invention of varnish and oil paint, on account of his unique visual realism. This was a myth,...
Sacred Medieval Objects and Their Afterlives in Scandinavia
Interconnected investigations between conservators, historians, heritage scientists and museum professionals centre on objects that were essential to medieval Christianity in Scandinavia (c. 1100‒1530). Through new and diverse physical data from polychrome sculptures, shrines, winged altarpieces and painted banners, the authors probe a range of issues and problems, from original devotional functions and changing appearances, to the impacts of changing liturgies, locations and priorities. This book highlights the diversity of theoretical and practical approaches to sacred medieval religious objects, and brings together new findings related to the transformations of these objects since the Reformations. Contributors are Karl Christian Alvestad, Alexandra Böhme, David Buti, Francesco Caruso, Aoife Daly, Tine Frøysaker, Elina Gertsman, Irka Hajdas, Poul Grinder Hansen, Karoline Kjesrud, Lena Liepe, Hana Lukasova, Maite Maguregui, Austin Nevin, Elena Platania, Anne Irene Riisøy, Katrine S. Scharffenberg, Jón Viðar Sigurðsson, Calin Constantin Steindal, Noëlle L.W. Streeton, Einar Uggerud, Anna Vila, and Jørgen Wadum.
Printing Colour 1400-1700
In Printing Colour 1400–1700, Ad Stijnman and Elizabeth Savage offer the first handbook of early modern colour printmaking before 1700 (when most such histories begin), creating a new, interdisciplinary paradigm for the history of graphic art. It unveils a corpus of thousands of individual colour prints from across early modern Europe, proposing art historical, bibliographical, technical and scientific contexts for understanding them and their markets. The twenty-three contributions represent the state of research in this still-emerging field. From the first known attempts in the West until the invention of the approach we still use today (blue-red-yellow-black/‘key’, now CMYK), it demonstrates that colour prints were not rare outliers, but essential components of many early modern book, print and visual cultures.
Polychrome Art in the Early Modern World
This book focuses on the techniques and materials of polychromy used in early modern Europe and the Americas from 1200 to 1800. Taking a trans-cultural approach, the book studies the production of polychrome sculptures, panels, and altarpieces, as well as colored terracotta. The book includes chapters on treatises and contracts that reveal specific use of pigments, distribution of workshops, collaborations between specialized artists, and artistic programs centered on the use of color as an agent. The book will be of interest to scholars working in art history, art conservation, early modern history, sculpture, colonialism, material culture, and European studies.
Early Modern Color Worlds
Color has recently become the focus of scholarly discussion in many fields, but the categories of art, craft, science and technology, unreflectively defined according to modern disciplines, have not been helpful in understanding color in the early modern period. ‘Color worlds’, consisting of practices, concepts and objects, form the central category of analysis in this volume. The essays examine a rich variety of ‘color worlds’, and their constituent engagements with materials, productions and the ordering and conceptualization of color. Many color worlds appear to have intersected and cross-fertilized at the beginning of the seventeenth century; the essays focus especially on the creation of color languages and boundary objects to communicate across color worlds, or indeed when and why this failed to happen. Contributors include: Tawrin Baker, Barbara H. Berrie, Fokko Jan Dijksterhuis, Karin Leonhard, Andrew Morrall, Doris Oltrogge, Valentina Pugliano, Anna Marie Roos, Romana Sammern (Filzmoser) and Simon Werrett.
Devotional Portraiture and Spiritual Experience in Early Netherlandish Painting
In Devotional Portraiture and Spiritual Experience Ingrid Falque analyses the meditative functions of early Netherlandish paintings including devotional portraits, that is portraits of people kneeling in prayer. Such paintings have been mainly studied in the context of commemorative and social practices, but as Ingrid Falque shows, they also served as devotional instruments. By drawing parallels between the visual strategies of these paintings and texts of the major spiritual writers of the medieval Low Countries, she demonstrates that paintings with devotional portraits functioned as a visualisation of the spiritual process of the sitters. The book is accompanied by the first exhaustive catalogue of paintings with devotional portraits produced in the Low Countries between c. 1400 and 1550. This catalogue is available at no costs in e-format (HERE) and can also be purchased as a printed hardcover book (HERE).
Conserving Canvas
The most authoritative publication in nearly fifty years on the subject of conserving paintings on canvas. In 2019, Yale University, with the support of the Getty Foundation, held an international conference, where nearly four hundred attendees from more than twenty countries gathered to discuss a vital topic: how best to conserve paintings on canvas. It was the first major symposium on the subject since 1974, when wax-resin and glue-paste lining reigned as the predominant conservation techniques. Over the past fifty years, such methods, which were often destructive to artworks, have become less widely used in favor of more minimalist approaches to intervention. More recent decades have witn...
Technical Knowledge in Europe, 1200-1500 AD
This volume brings together works on the development of scientific and technical knowledge in Europe between the 13th and 16th centuries, with a special focus on the Iberian Peninsula. These works, which rely heavily on the evidence provided by the written record, pay particular attention to the content of recipe books and technical treatises from the 15th and 16th centuries. The volume addresses issues such as manuscript and technical recipe book analysis, archaeological investigation of production areas and archaeometric analysis, presenting a holistic and comprehensive perspective of technical knowledge during the Middle Ages. It highlights different approaches and perspectives in the analysis of medieval technical and technological knowledge, in order to arrive at equally broad and complementary conclusions.
