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Description: Seeing Through Paintings: Physical Examination in Art Historical Studies
Contents
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00110.001
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Contents
Wood Supports
Technical Examination of Wood Panels
Case Study 1 - Frans Hals’ Jacobus Zaffius: A Panel Fragment?
Case Study 2 - A Question of Format of a Giotto Altarpiece
Case Study 3 - The St. Victor Altarpiece in Siena Cathedral: A Polyptych Reassembled
Case Study 4 - Nineteenth-Century American Use of Textured Panels: The Hardships of War, or Aesthetic Choice?
Fabric Supports
Expedient Choice of Support
Stretchers and Strainers
Technical Examination of Fabric Supports
Case Study 5 - A Couple Reunited: Rembrandt’s Portrait of a Man Trimming His Quill and Portrait of a Young Woman Seated Linked Through X-Ray Studies of the Canvases
Case Study 6 - Frans Hals’ Feyntje van Steenkiste and Lucas de Clerc: An Ill-Matched Couple of Canvases
Case Study 7 - Rembrandt’s Alexander the Great: Canvas and Paint Studies Correlate with Historical Evidence in Identifying a Pieced Canvas
Case Study 8 - Picasso’s Mother and Child: An Artist’s Gift Records His Change of Subject and Format
Case Study 9 - M. et Mme Edouard Manet by Edgar Degas: A Fragment of a Friendly Exchange
Case Study 10 - Manet’s Execution of Maximilian: Fragments of Studio Damage
Stone and Metal: The Support as Paragone
Artists’ Board and Paper Laid to Canvas or Panel
The Physical and Aesthetic Function of Grounds and Their Composition
Examination of Grounds
Colored Grounds
Case Study 11 - Judith Leyster or Circle of Gerard van Honthorst: Ground for an Attribution?
Textured Grounds
Case Study 12 - Jacob Lawrence’s Migration Series: The Creative Use of Accidents
Absorbent Grounds
Painting on Raw Canvas
Grounds for Gilding and Pastiglia
Ground Incising
Case Study 13 - Vermeer’s Perspective Construction: Pinpoint Proof
Case Study 14 - Uccello’s Hunt in the Forest: Ground Incising Is Key to Perspectival Reconstruction
Case Study 15 - Caravaggio and Grounds for Argument: Incising as Evidence of Drawing from Life
Pigments
Examination of the Paint Layer by Cross-Sections and Destructive Sampling
Case Study 16 - La Tour’s Fortune-Teller. Pigment Identification Confirms the Fortune
Gilding, Tooling, Punchwork
Binding Media
Egg Tempera
Size (Distemper) and Other Temperas
Drying Oils
Paint Handling
Case Study 17 - Playing with Viscosity: Leonardo’s Finger Painting
Case Study 18 - Jackson Pollock’s Blue poles: The Myth of Inebriation Versus the Evidence of Deliberation
Acrylics and Other Synthetic Media
Textural Paint Additives
Aging Effects of the Paint Layer
Nondestructive Examination of the Paint Layer
Case Study 19 - Chardin’s Three Soap Bubbles: X-Ray Studies Draw a Blank
Case Study 20 - Varying Questions of El Greco: Working Procedure, Iconography, Art Theory
Case Study 21 - Determining the Status of Constable’s White Horse Sketch
Case Study 22 - Mondrian’s Tableau No. IV: An Earlier State Lost and Found
Case Study 23 - Perspective Lines in Carpaccio’s Hunting on the Lagoon: Guides to a Reconstruction
Case Study 24 - Changing Means to Study Velázquez’ Evolving Technique
The Physical and Aesthetic Function of the Varnish Layer
The Composition of Varnishes
Aging of the Varnish Layer
Examination of the Varnish Layer with Natural Light
Examination of the Varnish Layer with Ultraviolet Light
Case Study 25 - A Famous Gossaert Rediscovered with the Help of Ultraviolet Studies
Has the Painting Been Varnished?
Varnish on Early Panels
Nineteenth-Century Darkening Glazes and Tinted Varnishes
Nineteenth- and Twentieth-Century Opposition to Varnishing
Paint on Top of the Varnish Layer
Labels and Collectors’ Marks
On Framing
Viewing Conditions and Lighting
Contents
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