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Description: Seeing Through Paintings: Physical Examination in Art Historical Studies
Index
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00110.013
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Index
Abrasion 169–70, 170, 171
Absorbent grounds 84–85
Abstract expressionism, attitudes toward varnish 237, 282n31
Academy board 65, 66, 312
Acrylic resins 147, 312
Additives 147, 149–51, 151, 312
Adhesion 71, 312
Adhesives 38, 41, 119, 174, 312
Adoration of the Magi (Velázquez) 211
Adoration of the Shepherds (Bulgarini) 21, 22, 24
Adsorption 273n1
Aero (Hartley) 250
Aging effects of paint layer
artists’ anticipation of color changes 167–69, 278nn50–51
craquelure 152–59
fugitive pigments and color changes 161–69, 277–78nn47–51
gilding 109–10
increasing transparency 127, 160, 161, 276n41
paint losses 169–70
visible effects of prior treatment 170–77
Aging of varnish layer 218, 219
Ainsworth, Maryan 88, 187, 192, 272n19
Airbrush 137, 145, 312
Aix-en-Provence 265
Albano, Italy (Inness) 245
Albany, N.Y., Albright-Knox Gallery: Still 237
Albers, Josef 256
Homage to the Square 257
Alexander the Great (Rembrandt) 49–53, 51, 52, 254 291
Alkyd resin 147, 312
Alla prima painting 121, 123, 238, 312
Allden, Mary 228
Allegory of Salvation (Rosso Fiorentino) 127
Alligatoring 155, 159, 312
Allston, Washington 103, 231, 241, 274n11, 282n4, 307
Altarpieces
Columba (van der Weyden) 278n61
Florentine 228
framing of 246–47, 251, 283n6
Giotto 18, 19–20
San Pier Maggiore 230–31, 248–49
St. Victor (Bulgarini) 21–24, 22–23, 289
varnish on Tuscan altarpieces 230
wood supports for 18–24
Ambient light 177, 225, 312
America Today murals (Benton) 290
American
eighteenth- and nineteenth-century 25–27, 31, 79, 111, 155, 232, 246, 251, 256–57, 288, 299, 306
impressionists 282n25
sources on encaustic art 307
tonalists 282n25
twentieth-century 79, 113, 292, 306
Amsterdam
— Rijksmuseum:
Hals 46, 47
Rembrandt 269n20, 262, 265
— Van Gogh Museum:
Gauguin 86, 240, 263, 265
Anatomy Lesson (Rembrandt) 171, 278n54
Andean art: painting on copper 25
Anderson, Jaynie 123, 268n5
Annunciation (Bouts) 114–15
Annunciation (Leonardo da Vinci) 134
Annunciation (Simone Martini) 21, 23, 24
Annunciation (Memling) 88
Anthropometries (Klein) 136–37
Antonello da Messina Madonna and Child 163
Apollo and Phaëton (Tiepolo) 74, 76
Apotheosis of the Spanish Monarchy (Tiepolo) 272n6
Aqueous media 110–13, 312
Arakawa 275n28
Archive (Ryman) 252, 253
Ardrey, Dee 237, 282n31
Aristotle with the Bust of Homer (Rembrandt) 50
Arnheim, Rudolf 259
Artists’ board 65, 66
Artist’s Studio (Molenaer) 42
Arts and Crafts movement 302
Asperen de Boer, J. R. J. van 123, 187, 246, 278–79n61
Asphaltum (bitumen) 155, 159, 312, 276n40
Atelier of a Painter (Mme Vigée Le Brun) and Her Pupil (Lemoine) 74, 74–75
Au Café (Manet) 38
Auping, Michael 237
Autoradiography 192, 312
Avery, Kevin 257, 285n14
Azurite 162, 163, 178, 261, 312
Bacchus and Ariadne (Titian) 289
Bacon, Francis 134, 238, 288
Painting 168, 169
Baechler, Donald 296
Baillio, Joseph 267n1
Baltimore, Museum of Art:
Chardin 196
van Goyen 160
Baptism of Christ (Leonardo da Vinci) 134
Baranoff-Rossiné, Daniel Vladimir Capriccio Musicale (Circus) 136, 137
Barbe See Beard
Barbizon painters 232–33, 282n25
Bargellini, Clara 25
Baron Fitzgibbon (Stuart) 30, 31
Baroque 121, 122, 138, 240
Barry, Claire 192, 274n11
Bartolommeo, Fra (Baccio della Porta) Rest on the Flight to Egypt with St. John the Baptist 118
Basel 263, 265
Bath of Venus (Shannon) 219
Bathroom Mirror (Bonnard) 227
Batoni, Pompeo
Hercules at the Crossroads 272n6
Venus Presenting Aeneas with Armor Forged by Vulcan 272n6
Battens 23, 24
Bauch, Joseph 9
Bauhaus 149, 289
Beard 15, 15, 71, 312
Bearden, Romare 79, 113, 272n13, 298
Beatson, Elizabeth 21, 24
Beckmann, Max 236, 302
Bellini, Giovanni 134, 247, 249, 251, 283n6
Works:
Feast of the Gods 304, 311
Frari Triptych 247, 249, 251
Bellolr, Lucy 192, 277n48
Benton, Thomas Hart 79, 144, 290
America Today murals 290
Beresford, Richard 228
Bergamo 262
Bergeon, Ségolène 174
Berkeley, University of California Art Museum: Tamayo 30
Berlin, Gemäldegalerie, Staatliche Museen: Molenaer 42
Bettes, John 294
Biblical Subject (Derain) 185
Bierstadt, Albert 306
Binding media
choice of 144
definition of 110, 312
definition of tempera 110
drying oils 113, 116–20
egg tempera 111–12, 274n10, 274nn12–13
historical development of 110
identification of 105, 112
mixed media 111, 274n11
paint handling of oils 121–26
scientific analyses of 110
size (distemper) and other temperas 112–13
Bird (Pollock) 150, 151
Birth of the Virgin (Lorenzetti) 21
Bishop, Isabel 79, 274n11, 301
Bishop, James 275n28
Bitumen See Asphaltum
Bjelajac, David 103, 282n24
Blacks, color changes in 277n48
Blake, William 303
Blanching 218, 219, 219, 312
Blaugrund, Annette 256
Bleckner, Ross 296
Blinding of St. Victor (Bulgarini) 22
Bloom 218, 219, 229, 312
Blue Jump (Frankenthaler) 87
Blue poles (Pollock) 138, 141–44, 142–43
Böcklin, Arnold 302
Boime, Albert 126
Bois, Yve-Alain 126, 256
Boîtes à cigare 6
Boîtes à pouce 6
Bole 71, 86, 312
Bolger, Doreen 192
Bomberg, David 303
Bomford, David 14, 35, 39, 88, 110, 112, 126, 132, 174, 246, 269n29, 272n
Bonaides, Steven 282n31
Bonnard, Pierre
Bathroom Mirror 227
Palm 227
Borrones 121, 122, 124
Boston
— Isabella Stewart Gardner Museum: Giotto 18
— Museum of Fine Arts: 262
Botticelli, Sandro 74, 119, 311
Primavera 74, 119, 274n15, 289
Bouts, Dieric 29
Annunciation 114–15
Bowron, Edgar Peters 60
Brachert, Thomas 134, 174, 275nn22–24
Branchick, Thomas 144
Brandi, Cesare 174
Braque, Georges 236, 305
Round Table 84, 85
Braun, Emily 144
Brealey, John 107, 109
Brehm, Margrit Franziska 275n20
Brink, Joel 246
British
eighteenth- and nineteenth-century 79, 111, 155, 229, 232, 240, 274n11, 291, 296, 303
framing 238
general source on 303
sixteenth- and seventeenth-century 294, 301, 303, 307
sources on portraits, 306, 307
Tudor painting 294
twentieth-century 303
and wood supports, 7
Bronzino, Agnolo 293
Brooklyn Museum Mexican eighteenth-century art 61, 262
Broun, Elizabeth 241, 281n23
Brown, Christopher 50, 53, 192, 272n8
Brown, David Alan 275nn2
Brücke, Die 236
Bruqueta, Rorio 231
Brushes 126, 130, 132 See also Paint application
Buck, Robert D. 53
Buckling 312
Bucklow, Spike 276nn36–37
Bulgarini, Bartolommeo
Adoration of the Shepherds 21, 22, 24
Blinding of St. Victor 22
Crucifixion 22
St. Victor Altarpiece 21–24, 22–23
Burroughs, Alan 182
Byzantine 179, 180–81, 182, 297
Cadmus, Paul 113
Caillebotte, Gustave 291
Caley, Tom 217–19, 280n8
Callen, Anthea 84, 126, 144, 225, 232, 233, 273n2, 278n51, 282n24
Cambridge, Mass., Fogg Art Museum, Harvard University Art Museums:
Bulgarini 22
Rothko 166
Camera obscura 92
Campbell, Christopher B. 126
Canadian painting 25, 300
Canaletto 289
Canberra, National Gallery of Australia: Pollock 141, 142
Canvas 28, 312 See also Fabric supports
Canvas board 65, 66, 312
Cape Cod Evening (Hopper) 164, 165, 277n47
Capriccio Musicale (Circus) (Baranoff-Rossiné) 134, 136
Caravaggio, Michelangelo Merisi da 3, 98–100, 273n28, 292, 302
Sacrifice of Isaac 99, 273n26
Cardinal (Raphael) 11
Carlyle, Leslie 229, 240, 274n11, 277n44, 281n14
Carmean, E. A., Jr. 203, 279n73, 282n32
Carpaccio, Vittorio
Hunting on the Lagoon 206, 207, 307
Two Venetian Ladies 208–9
Carpi, Ugo da 132
Cartoon 277n47, 312
Casein 84, 113, 144, 146, 148, 272n13, 312
Cassatt, Mary 84, 291
Castedo, Leopoldo 25
Catlin, George 306
Cennini, Cennino 4, 230
Center and periphery 25
Cézanne, Paul 3, 84, 130, 130, 290, 292, 293
Etang des Soeurs Osny 130, 130
Chalk 113, 261, 312
Champaigne, Philippe de 228, 288
Champlevé See Enamel
Chardin, Jean-Siméon
Game of Knucklebones (Les Osselets) 194, 196
Soap Bubbles 194, 195–96
Chariot of Aurora (Tiepolo) 272n6
Charles V 198, 243
Chiaroscuro 220
Chicago, Art Institute:
Degas 146
Gauguin 81
Picasso 54, 55, 271n47
Polke 36–37
Seurat 104, 262, 263, 265
Chill 229
Christensen, Carol 84, 138, 234, 269n26
Christiansen, Keith 18, 98, 100, 268n9, 272n6, 273n26, 273n28
Church, Frederic E.
Heart of the Andes 256–57, 258, 289
Icebergs 285n14
Ciatti, Marco 230
Cimabue 290
Cione, Jacopo di
San Pier Maggiore Altarpiece 248–49
Strozzi Altarpiece 249
Circe and Her Lovers in a Landscape (Dosso Dossi) 162
Cleaning, mid-treatment photos 175, 221, 226, 227, 280n9
Cleaning window See Window
Cleavage 312 See also Interlayer cleavage
Clement VII (Sebastiano del Piombo) 58, 60, 61
Cleveland, Museum of Art:
Jouett 27
Monet 42
Reynolds 167
Sano di Pietro 15
Stuart 30; 262, 263, 265
Cloisonné See Enamel
Close, Chuck 304
John/Fingerpainting 132, 133
Cole, Thomas 309
Collective Suicide (Siqueiros) 145
Collectors’ marks 38, 242–43
Cologne, Sonderbund Exhibition: Munch 234
Color, sources on 259
Color changes
as aging effect 161–66, 277–78nn48–51
artists’ anticipation of 167–69, 278nn50–51
Color temperature 312
Colore (“coloring”) 121
Colored grounds 70–71, 74–77, 272n6
Commercial art 138, 144, 145
Compensation 312 See also Filling; Inpainting
Composition in a Square with Red, Yellow and Blue (Mondrian) 204–5
Composition (Torres-García) 184
Connor, Marco 231
Conservation
sources on controversies in 174, 280n7
visible effects of prior treatment 170–77
Consolidation 312
Constable, John 123, 229, 232, 285n17, 303, 305
Works:
Stour Valley with Dedham in the Distance 201
Weymouth Bay (Bowleaze Cove) 66
White Horse 200–202, 201, 279n69
Copal 217, 312
Copenhagen
Nys Carlsberg Glyptotek: 263
Statens Museum for Kunst: Palazzo Venezia Master 22
Copley, John Singleton 293
Red Cross Knight 158
Watson and the Shark 190
Coppenol, Lieven Willemsz. van 44, 46
Copper resonate greens 162, 162, 261
Copper supports 60, 62–63, 152, 293
Coral Gables, Fla., Lowe Art Museum, University of Miami: Periera 149
Coronation of the Virgin (Fabriano) 88, 116–17
Coronation of the Virgin (Velázquez) 269n22
“Corrugated textures” 138, 139
Couillarde 130
Courbet, Gustave 53, 130, 291, 301
Court Jester Barbarroja, D. Cristóbal de Castañeda y Pernia (Velázquez) 212
Cove, Sarah 281n22
Covering power 312
Cracking See Craquelure
Cradle and cradling 9, 10, 11, 243, 268n3, 312
Cranmer, Dana 282n31
Craquelure
on canvases 153, 153, 154, 155, 156–57
change in, within painting 155
definition of 312
drying crackle 155, 158–59, 200
of ground 71, 155, 156
as indication of possible faulty paint application or problematic materials 155
on panels 152–53
of varnish 155
Crazing 218, 219, 312
Croquetons 6
Crossbars 10–11, 11, 40
Cross-section definition of 73, 313
in ground studies 73, 73, 77
in paint studies 105
for varnish identification 224, 228
Crucifix (Giotto) 230
Crucifixion (Bulgarini) 22
Crucifixion (Giotto) 18, 19
Cuba 65
Cubism 119, 236, 302, 305
Cupping 19, 313
Curry, Cynthia 25
Cusping See Scalloping
Cuzco School 25, 292
Daddi, Bernardo St. Paul 163
Dammar 217, 222, 313
Darkening glazes 218, 231–33, 241
David, Gerard Virgin and Child with Three Saints and a Donor 280n7
David, Jacques-Louis Portrait of the Sisters Zénaîde and Charlotte Bonaparte 81
De Grazia, Diane 53
Davis, Stuart Rapt at Rappaport 306
De Kooning, Willem See Kooning, Willem de
De Marly, Diana 107
Dead coloring 123, 313 See also Monochrome underpainting
Death and the Maiden (Munch) 235
Degas, Hilaire-Germain-Edgar
lining of canvases by 35, 38
and Manet’s Execution of Maximilian 58
revivals of medieval technique by 144
source on 134, 302
unprimed canvas 86
Works:
M. et Mme Edouard Manet 56, 57
Portrait After a Costume Ball (Portrait of Mme Dietz-Monnin) 146
Self-Portrait 67
Del Serra, Alfio 230, 274nn13, 15, 283n35
Delacroix, Eugène 84, 215, 233, 280n6
Dendrochronology 7, 9, 223, 267n2, 313
Denis, Maurice 84
Derain, André 291
Biblical Subject 185
Descent into Limbo (Giotto) 18, 19
Design layer See Paint layer
Desmond, Michael 141, 142, 144
Destructive sampling See Sampling
Dewing, Thomas Wilmer 192, 197
Diana in the Chase (Allston) 283n37
Direct painting See Alla prima painting
Discolored varnish 219, 220, 221, 228
Disegno (“drawing”) 121
Distemper See also Size
definition of 112, 313
distinctive look of 112
Dürer’s use of 274n14
Gauguin’s use of 34–35
list of unvarnished old master paintings in distemper 262–63
sources on 29
and unprimed canvas 70, 86
varnish and 112–13
Dix, Otto 113, 274n11, 302
Doerner, Max 111, 113, 272n13
Doge Andrea Gritti (Titian) 122
Doni Tondo (Michelangelo) 246, 308
Donne Triptych (Memling) 88
Dossi, Dosso 198
Circe and Her Lovers in a Landscape 162
Double Portrait of Giovanni di Arrigo Arnolfini and His Wife Giovanna (van Eyck) 116
Double stretching 270n30
Dove, Arthur 111
Dresden 262
Drunkards (Velázquez) 269n22
Dryer, Moira 296
Drying agents 119, 313
Drying crackle 155, 158–59, 200, 313 See also Craquelure
Drying oils
as binding medium 113, 116–20
characteristics of oil paints 119
definition of 313
experimental paint application 126, 130–47
historical development of 113, 119, 274n15
paint handling of 121–26
in priming layer of ground 71
studies of oil technique 123, 126
Du Jardin, Karel Portrait of a Young Man 278n60
Dublin, National Gallery of Ireland:
Titian 120
Vermeer 93, 262
Dubuffet, Jean 297
Duccio 290
Duco paint 144
Dunkerton, Jill 14, 110, 134, 228, 246, 271n1, 274n16, 277n47, 278n60, 280n9, 281n12
Dürer, Albrecht self-portrait of 112–13, 274n14
Dutch See also Netherlandish
seventeenth-century 43, 72, 77, 194, 232–33, 246, 273n21, 276n36, 308
and wood supports 7
Dyck, Anthony van 192, 270n41, 279n72, 288, 307
Study Head of a Young Woman 67
Eakins, Thomas Swimming 171, 274n11, 308
Earl, Ralph 31, 300
Easels (Vieira da Silva) 233
Ecce Homo (Titian) 120
Edinburgh 263, 265
Editha and the Monks Searching for the Body of Harold (Hilton the Younger) 159
Edward VI as a Child (Holbein the Younger) 163
Egg tempera 111–12, 274n10, 274nn12–13, 313
Eggwhite varnish 217, 228, 230, 238, 240, 283n35
Eikema Hommes, Margriet van 274nn11, 15, 277n44
El Greco See Greco de Toledo (Doménikos Theotokópoulos)
Enamel 60, 62, 144, 145, 147, 276n31, 313
Encaustic 110, 111, 238, 313
Engaged frame 71, 246, 247, 313
Engelbrechtsz, Cornelis 288
“English style” of glazing 238
Ensor, James 121, 300
Entry of Christ into Brussels in 1889 138, 140, 300
Enthroned Madonna and Child (Kahn Madonna) 179, 180, 182
Enthroned Virgin and Child (Lorenzetti) 172–73
Entombment (Giotto) 18
Entry of Christ into Brussels in 1889 (Ensor) 138, 140, 300
Epiphany (Giotto) 18
Ernst, Max 137, 151
Etang des Soeurs Osny (Cézanne) 130
Etching 160, 161
Execution of Maximilian (Manet) 38, 58, 59
Experimental paint application 126, 130–47
Expressionism 140, 236–37
Eyck, Jan van 274n16
Double Portrait of Giovanni di Arrigo Arnolfini and His Wife Giovanna 116
Ghent altarpiece 309
Fabriano, Gentile da Coronation of the Virgin 88, 116–17
Fabric supports
aging and treatment of 33, 35, 38
altered formats of 48, 49–53, 51–52
case studies on 44–58
expedient choice of 31
expressive use of unusual fabric 31, 34–36
fragments 54–58, 55, 57, 59
hygroscopicity of 33
identification of paired portraits 44–49
impregnation as treatment for 33, 71
laced to large frames 42, 43
lining of 29, 33, 35, 38
maroflage of 177
paint losses on 169
pieced canvases 49–53, 51, 52
relining of 33
Rembrandt’s portraits 44–46, 45
reuse of 185
and scalloping 29, 39, 42, 43–44
sources on 28
stretchers and strainers for 39, 40
tacking margins of 39, 40, 41, 43
technical examination of 39, 41–44
texture of 29
transfer 177
types of 28
X-ray studies of 29
Faenza, Jacopo da 251
Fakes and forgeries 9, 107, 109, 260, 292, 311
Falk, Peter Hastings 39
Faries, Molly 187, 278n61
Fauve artists 227, 233, 291
Feast of the Gods (Bellini) 304, 311
“Feeding” the varnish 219
Feet painting with 132
Feller, Robert 53, 276n42
Fénéon, Felix 103, 161–62
Ferrule 126, 130
Feyntje van Steenkiste (Hals) 46, 47, 49
Fiedler, Inge 103
Filling 313
Fingers painting with 130, 132, 133, 134, 135
Fisher, Sarah L. 197–98, 279nn65–66
Flaking 152, 156, 169, 170, 171, 313
Flemalle, Master of 289
Flemish painting 25, 123, 231, 276n36
Florence
— Uffizi:
Caravaggio 99
Dürer 274n14
Leonardo da Vinci 134
A. Lorenzetti 21
Simone Martini 21, 23, 265
— Villa I Tatti, Harvard University: Giotto 18
Florentine painting 113, 121, 198, 228, 301
Flowers (Matisse) 227
Fogg Adoration (Bulgarini) 21, 22, 24
Forge of Vulcan (Velázquez) 210
Forgeries See Fakes and forgeries
Fort Worth 263
Fortune-Teller, The (La Tour) 106, 107, 109
Fouque 243
Fox Hill, Upper Norwood (Pissarro) 221
Fragments 54–58, 55, 57, 59
Framing
of altarpieces 246–47, 251, 283n6
dating of 246
engaged frames 71, 246, 247
glass used in 238, 283n33
by impressionists 251
in mid-nineteenth through early twentieth centuries 250, 251, 252, 253
of polyptychs 246, 248–49
reframing 253
sources on 246
by twentieth-century artists 252, 253
Frankenthaler, Helen 291
Blue Jump 87
Frankfurt, Städelsches Kunstinstitut: Bulgarini 22
Francis, Richard 111
Frari Triptych (Bellini) 247, 249, 251
Frederick Douglass series (Lawrence) 272n13
Frederickson, Burton 187, 192
French
eighteenth- and nineteenth-century 154, 155, 229, 276n36, 280n4, 307
and wood supports 7
French Academy 229
Fresco 82, 84, 144, 233, 254, 274n10
Freud, Lucien 238
Friable 313
Friedrich, Caspar David 300
Frinta, Mojmír S. 110
Frottage 137
Fugitive pigments 161–69, 277n47, 313
Full Fathom Five (Pollock) 150–51
Gaddi, Agnolo Madonna Enthroned with Saints and Angels 108
Gainsborough, Thomas 254, 256, 278n50, 293, 299
Galassi, Maria Clelia 25
Game of Knucklebones (Les Osselets) (Chardin) 194, 196
Gardener’s House at Antibes (Monet) 42
Garlands See Scalloping
Garrido Pérez, María del Carmen 25, 28, 53, 123, 197–98, 210, 269n22, 279nn65–66
Gauguin, Paul
expedient choice of supports 31
and framing paintings behind glass 238, 239
fugitive pigments in works of 277n47
matte grounds used by 84
paint techniques of 138
sources on 292, 298–99
unprimed canvas used by 86
varnish rejected by 234
wax used by 111, 144
Works: Nirvana, Portrait of Meyer de Hahn 31, 34–35
Self-Portrait Dedicated to Carrière 36
Self-Portrait, Les Misérables 86
Three Tahitian Women 238, 239
Why Are You Angry? 80–81
Gentileschi, Artemesia 307
Gentileschi, Orazio 53, 307
German
expressionism 236
fifteenth- through seventeenth-century 293
and wood supports 7
Gesso 18, 70, 71, 82, 86, 88, 272n13, 313 See also Ground
Gettens, Rutherford 132, 217, 260
Ghent altarpiece (van Eyck) framing of 309
Gifford, E. Melanie 160, 161, 274n9
Giffords, Gloria Fraser 60, 271n54
Gilding
definition of 313
within design layer 109–10
in Fabriano’s work 116–17
in Gaddi’s work 108
on Giotto altarpiece 268n10
ground for 86, 88, 89
in medieval paintings generally 119
mordant gilding 88
regilding 171, 174
sources on 110
theft of 110
water gilding 86
Ginevra de’Benci (Leonardo da Vinci) 8, 134, 135
Giorgione 121, 123, 277n47
Giotto 290, 296
Crucifix 230
Crucifixion 18, 19
Descent into Limbo 18, 19
Entombment 18
Epiphany 18
Last Supper 18
Madonna di Santa Maria Maggiore 230
Pentecost 18, 20
Presentation 18
Rosno Crucifix 230
Girl with Pearl Earring (Vermeer) 71, 156, 169
Girls in the Field (Malevich) 216
Glair 217, 313
Glasgow, Art Gallery and Museum: Rembrandt 49, 51
Glass for framing paintings 238, 283n33, 313
Glazes
darkening glazes 218, 231–33, 241
definition of 313
eggwhite glaze 217, 228
lake glazes 223
medieval use of glazes over gilding 119
Van Eyck’s use of 116
Glazing and scumbling 121, 123, 313
Glue See Size
Glue-size tempera See Distemper
Gogh, Vincent Van
eggwhite coatings used by 217, 240, 283n35
use of fugitive pigments 4, 277n47
sources on 292, 299, 302
unprimed canvas used by 86
and varnish 266
Work: Irises 128–29 164, 165
Going to Market (Johnson) 32
Goldberg, Marcia 25
Gold-ground paintings 86, 88, 89, 109
Goltzius, Hendrick 297
Gordon, Dillian 18
Gorky, Arshile 292
Gossaert, Jan (Mabuse) 291
Virgin and Child 223, 224
Gouache 146, 313
Gould, Cecil 193, 243
Gowing, Lawrence 130
Goya, Francisco de 134, 289, 295
Self-Portrait in the Studio 254, 255
Goyen, Jan van View at Rehnen 160
Grant, Duncan 303
Greco de Toledo, El (Doménikos Theotokópoulos) 197–98, 301
Holy Family with Saint Anne and the Infant Saint John 198–99
Grevenstein, Anne van 25
Grimm, Carl 246, 268n7
Groen, Karin 16, 25, 49, 123, 269nn21–22, 272nn7–9, 19
Groom, Gloria 144
Grosz, George 305
Ground See also Gesso; Priming
absorbent grounds 84–85
in attribution of painting 77–78
case studies on 77–78, 79–83, 92–100
colored grounds 70–71, 74–77, 272n6
composition of 70
craquelure in 71, 155, 156
definition of 313
examination of 7–73
for gilding 86, 88, 89
incising of 88, 90–91, 94–100, 95–97, 99
layers of 70–71
matte grounds 84
physical and aesthetic function of 69–72
pockmarked surface of 71, 79
problems of 71
sources on composition of 70
textured grounds 71, 79–83
unprimed canvas versus 70, 86
white grounds 70
Ground incising 88, 90–91, 94–100, 95–97, 99
Guatemala 25, 306
Guazzo 112, 274n14
Guercino 50
Guernica (Picasso) 276n39
Guillemet, Jean-Baptiste-Antoine 130
Guston, Philip 256, 307
Gypsum 261
Haarlem, Frans Halsmuseum: Hats 17, 46, 269n22
Haarlem painters 25, 77, 297 See also Hals, Frans Hague
— Gemeente Museum 265
— Royal Cabinet of Paintings: Vermeer 156
Hague School 217
Halpine, Susana M. 82, 272nn12–13
Hals, Frans 77, 123, 270n41, 272n8, 296, 306–7
Feyntje van Steenkiste 46, 47, 49
Jacobus Zaffius 16, 17
Lucas de Clercq 46, 47, 49
Regentesses of the Old Men’s Almshouses 46, 269n22
Hanson, Ann Coffin 53, 126
Harlem Art Workshop 79
Harmony in Blue and Gold (The Peacock Room) (Whistler) 252
Harnett, William M. 310
Hartford, Wadsworth Atheneum: Gauguin 34, 35, 262, 263
Hartley, Marsden Aero 250
Harvard Murals (Rothko) 164, 166, 237, 277n49, 301–2
Hassam, Childe 282n25
Hayes, John 254–56
Heade, Martin Johnson 292
Heart of the Andes (Church) 256–57, 258, 289
Hedley, Gerry 174, 222, 277n45
Heimberg, Bruce 236
Held, Julius 53, 278n55
Heller, Reinhold 126, 144, 272nn14, 18
Hendricks, Ella 16, 25 49, 123, 269nn21–22, 272nn7–9, 19
Herbert, Robert 126, 138, 139, 267n1, 275n26
Hess, Thomas 256
Hiding power See Covering power
Hilliard, Nicholas 294, 308
Hilton, William the Younger Editha and the Monks Searching for the Body of Harold 159
Hirst, Michael 58, 60
Hobbs, Susan 192
Hochsitz mit Ganse (Watchtower with Geese) (Polke) 36–37
Hockney, David 293
Hodge, Sam 228, 231
Hoeniger, Cathleen B. 110
Hoenigswald, Ann 179, 182, 279n72, 281n13
Hogarth, William 232, 301
Holbein, Hans the Younger Edward VI as a Child 163
Holland See Dutch; Netherlandish
Holy Family (La Perla) (Raphael) 11
Holy Family with Saint Anne and the Infant Saint John (El Greco) 198–99
Holy House of Nazareth (Zurbarán) 309
Homage to the Square (Albers) 257
Homer, Winslow 35, 269n28
Milking Time 127, 161
Honthorst, Gerard van 77, 78
Hope, Charles 123
Hopper, Edward 130
Cape Cod Evening 164, 165, 277n47
Ryder’s House 130, 133
Horse Attacked by a Lion (Stubbs) 60, 62
House, John 126, 253
Houston, Museum of Fine Arts
Italian paintings 310
Hout, Nico van 70, 74
Humfrey, Peter 283n6, 298
Hunt, Holman 299
Hunt in the Forest (Uccello) 94, 95–97, 98, 299
Hunting on the Lagoon (Carpaccio) 206, 207, 307
Hygroscopicity 33, 313
Icebergs (Church) 285n14
Icon with Military Saints George, Theodore, and Demetrios 174
“Idea of the medium” 144, 276n31
Impact crackle 155, 156, 313
Impasto
abrasion of 169
creation of 147
flattening of, with age 38, 171, 174
Monet’s use of 138
palette knife work 130
Titian’s use of 121, 122
Van Gogh’s use of 128–29
varnish accumulation in 225
Velázquez’ use of 121, 124
Impregnation 33, 71, 171, 174, 314
Impressionism 35, 38, 121, 229–30, 233–34, 251, 259, 282n25, 285n16, 290, 291, 298
Imprimatura 71, 77, 314
Incising 88, 90–91, 94–100, 95–97, 99, 314
Indianapolis 263
Infrared reflectogram assembly 187, 188–89, 191, 314
Infrared reflectography
of Caravaggio’s works 208–9
case studies on 206–10, 233
complementary use of radiography and 208, 210
of Copley 190
of de Kooning 189
definition of 314
of grounds 73
of Leyster’s Self-Portrait 183
of paint layer 186–92, 188–91, 203, 206–9
of Raphael 191
sources on 187
of underdrawings 203, 206
of Velázquez’ works 210, 213
Inherent vice 152, 314
Inness, George 243, 245
Albano, Italy 245
Inpainting 171, 172–73, 174, 314 See also Retouches
Integral frame See Engaged frame
Interlayer cleavage 152, 170, 314
Irgang, Harriet 113
Irises (Van Gogh) 128–29, 164, 165
Irwin, Robert 1° 2° 3° 4° 258
Isinglass 112, 314
Italian
early 14, 74, 88, 230, 290, 303, 311
fifteenth-century 113, 276n36, 310
fourteenth-century 228, 310
seventeenth- and eighteenth-century 121, 215
sixteenth-century 121, 310
twelfth- to fourteenth-century 230
and wood supports 7
Jacobus Zaffius (Hals) 16, 37
Jacopo del Casentino Madonna and Child 230
Jeweler’s loupe See Loupe
Jirat-Wasiutynsky Vojtech 111, 114, 269n26, 272n18, 282n26
John, Gwen 303
John/Fingerpainting (Close) 132, 133
Johns, Jasper 111, 137, 294
Johnson, William H. 31
Going to Market 32
Jordaens, Jacob 53
Jouett, Matthew Harris Senator Thomas Hart Benton 27
Julius II (Raphael) 193, 193, 243, 296
Jungle (Lam) 68, 271n56
Kahlo, Frida 3, 60
My Grandparents, My Parents and I (Family Tree) 60, 64
Kahn Madonna 179, 180–81, 182, 297
Kainen, Jacob 113
Karlsruhe, Staatliche Kunsthalle Karlsruhe: School of van Honthorst (Leyster?) 78
Kassel, Staatliche Museen Kassel Rembrandt 45
Katlan, Alexander 39, 270n33
Kelch, Jan 192
Kelly, Ellsworth 252
Kelly, Franklin 269n28
Kemp, Martin 94, 97, 98, 273n22
Kensett, John Frederic 294
Ketel, Cornelis 132, 275n21, 294
Kirby, Jo 228, 277n47
Kirchner, Ernst Ludwig 236
Kitakyushu, Municipal Museum of Art Degas 57
Klee, Paul 304
Klein, Franz 237, 282n31
Klein, Peter 9
Klein, Yves 136–37, 137, 252
Kline, Franz 277n48, 295
Kneller, Sir Godfrey 231
Kooning, Willem de 292, 310
Queen of Hearts 188, 310
Seated Man 310
Kornhauser, Stephen H. 25, 31
Kupfer, Marcia 194
Kurella, Annette 246
Kurz, Otto 260
La Tour, Georges de 192, 274n9, 293, 295, 304
Fortune-Teller 106, 107, 309
Labels 38, 242–43
Lacing string for fabric supports 42, 43
Ladies Amabel and Mary Jemima Yorke (Reynolds) 167
Laid down paper on canvas or panel 65, 67–68, 271n56
Lake, Susan 188
Lake pigments 102, 162, 164, 167, 223, 261, 277nn45,47, 314
Lam, Wifredo 65, 308
Jungle 68
Landscape at Chaponval (Pissarro) 283n33
Landscape with Posters (Picasso) 144, 276n31
Lank, Herbert 259
Lasker, Jonathan 296
Last Supper (Giotto) 18
Laughing Youth with a Wine Glass (Leyster) 77, 78
Lawrence, Jacob 272n13, 298
Frederick Douglass series 272n13
Migration series 31, 79, 82, 82–83 113, 298–99
Layering 121, 123, 314
Lay-in 314 See also Underpainting
Le Nain, Louis, and brothers 291
Le Sueur, Eustace 304
Lee, Ellen Wardwell 280n9
Lebensztejn, Jean-Claude 246
Leisher, William R. 203, 279n73
Lely, Peter 307
Lemoine, Marie Victoire Atelier of a Painter (Mme Vigée Le Brun) and Her Pupil 74, 74–75
Lenbach, Franz von 302
Leonard, Mark 29, 140
Leonardo da Vinci 134, 135, 290, 299
Works:
Annunciation 134
Baptism of Christ 134
Ginevra de’Benci 8, 134, 135, 290
Madonna of the Yarnwinder 299
St. Jerome 134
Virgin of the Rocks 13, 247
Leslie, Charles 231
Levenson, Rustin 25
Leyden, Lucas van 300
Leyster, Judith 77, 310
Laughing Youth with a Wine Glass 77, 78
Man Offering Money to a Young Woman 273n19
Self-Portrait 182–83
Libro dell’arte, II (Cennini) 4, 308
Lichtenstein, Roy 138, 310
Lighting
for artists while painting 284n13, 254–56
sources on 259
for viewing of paintings 256–59, 284n13, 285n15
Lining See also Relining
adhesives for 38, 41, 174
by impressionists 35, 38
clues to existence of 39, 41
definition of 29, 33, 314
and impregnation 71
loose lining 270n30
poor procedure 38
prevalence of lined canvases 35
risks of 174, 175–76, 177
strip lining 38
technical examination of 3
wax linings 41
Lippi, Filippino Santissima Annunziata altarpiece 247
Lippincott, Louise 140
Liquitex 144, 147
Lloyd, Michael 141, 142, 144
Lodge, Robert G. 144, 276nn32–33
La Loge (Renoir) 176
London
— Courtauld Gallery:
Cézanne 130
Renoir 176, 263, 265
— National Gallery:
Cione 249
van Eyck 116
Giotto 18, 20
Gossaert 223, 224
Manet 58, 59
Pissarro 221
Raphael 193, 193
sources on collection of 290, 303
Titian 105
Wright of Derby 35, 262, 264, 265
— Tate Gallery:
Hilton the Younger 159
Shannon 219
sources on collection of 293, 303, 305
Stubbs 62; 265
— Victoria and Albert Museum:
Constable 66
Raphael 277n47
Loose lining 270n30
Lorenzetti, Ambrogio Purification of the Virgin 21
Lorenzetti, Pietro
Birth of the Virgin 21
Enthroned Virgin and Child 172–73
Lorenzo Monaco Madonna and Child 163
Los Angeles
— County Museum of Art:
Chardin 195
Rosso Fiorentino 127
Tiepolo 76, 264, 265
— J. Paul Getty Museum:
Fra Bartolommeo 118
Carpaccio 206, 207
David 81
Ensor 138, 140
Fabriano 116–17
Sebastiano del Piombo 61
Simone Martini 247
Van Gogh 218
Loss compensation See Inpainting
Losses of paint with age 169–70
Louis, Morris 270n31, 282n27, 309
Loupe 72, 152, 178, 314
Lucas de Clercq (Hals) 46, 47, 49
M. et Mme Edouard Manet (Degas) 56, 57
Mme Dietz-Monnin (Degas) 146
Macrophotography 178, 314
Madonna and Child (Antonello da Messina) 163
Madonna and Child (Jacopo del Casentino) 230
Madonna and Child (Monaco) 163
Madonna and Child on a Curved Throne (Mellon Madonna) 179, 180–81, 182
Madonna and Child (Verrocchio workshop) 134
Madonna di Santa Maria Maggiore (Giotto) 230
Madonna Enthroned with Saints and Angels (Gaddi) 108
Madonna of the Goldfinch (Tiepolo) 73
Madonna of the Oak (Raphael) 10, 11
Madonna of the Yarnwinder (Leonardo da Vinci) 299
Madrid
— Museo del Prado: El Greco 197, 199
Raphael 10–11, 11, 12
Velázquez 42, 124, 210, 211–13
— Real Academia de Bellas Artes de San Fernando: Goya 255
Magna 147
Malachite 261
Malevich, Kazimir 275n28, 297
Girls in the Field 216
Malrand See Beard
Man in Armour (Rembrandt) 49–53, 51–52
Man Offering Money to a Young Woman (Leyster) 273n19
Mander, Carel van 132, 275n21
Manet, Edouard
and anticipation of color changes 169, 278n51
and Degas’ M. et Mme Edouard Manet 56, 57
influences on 53
use of lining of canvases 38
pieced supports 53
sources on 289, 290, 296, 307
Works:
Au Café 38
Execution of Maximilian 38, 58, 59
Waitress 38
Mangold, Robert 275n28
Mantegna, Andrea 29, 290
San Zeno triptych 247, 251
Manuscript illumination 274n10
Marchant, Ray 228, 231
Marden, Brice 111, 296
Marette, Jacqueline 14
Maroflage 177
Marquise de Pezé and the Marquise de Rouget with Her Two Children (Vigée-Lebrun) 154
Marsh, Reginald 79
Masaccio 311
Masheck, Joseph 246
Masolino 311
Massing, Ann 94, 97, 98
Masson, André 150, 151
Mastic 217, 314
Matisse, Henri 119, 291, 293
Flowers 227
Matte effect 85, 227, 233–38
Matte grounds 84–85
Maximilian, Emperor of Mexico 58, 59
Mayer, Ralph 113, 272n13
McGlinchey, Christopher 259
McKim-Smith, Gridley 25, 121, 197–98, 279nn65–66
Media definition of 314 See also Binding media
Media-rich See Rich
Medieval technique 119, 144, 303
Meegeren, Hans van 260
Megilp 314
Meijr, Bert W. 123
Mellon Madonna 179, 180, 182, 298
Melucco, Alessandra 174
Memling, Hans 309
Annunciation 88
Donne Triptych 88
Mendgen, Eva 246
Las Meninas (Velázquez) 40
Mérimée, Prosper 84
Metal supports 58, 60, 62–64, 70
Mexican
eighteenth-century 60, 61
muralists 82, 300
paintings on copper 25
sources on 293, 295, 308
twentieth-century 31, 60
Meyers, Pieter 107, 109
Miami Art Museum: Frankenthaler 87
Mica dust 103
Michelangelo Buonarroti 134, 255, 301, 308
Microscopic examination 74, 176, 177, 178, 224, 225
Migration series (Lawrence) 31, 79, 82, 82–83, 113, 298
Milking Time (Homer) 127, 161
Millais, John Everett 303
Millboard 65, 66
Miller, Bruce 113, 274n11
Miller, Kenneth Hayes 113
Millet, Jean-François 251, 253, 300
Miró, Joan 60, 63, 270n31, 300
Two Personages in Love with a Woman 60, 62
Mitchell, Paul 246
Mixed media 111, 274n11, 314
Molenaer, Jan Miense Artist’s Studio 42
Mondrian, Piet 123, 256, 292
Composition in a Square with Red, Yellow and Blue 204–5
Tableau No. IV: Lozenge Composition with Red, Grey, Blue, Yellow, and Black 157, 203, 204–5
technical studies of 279n73
Monet, Claude
craquelure in works of 276n38
on detection of discolored varnish 220
framing by 253
paint application techniques of 123, 138, 275n26, 275n28
sources on 290, 291, 297
varnish rejected by 225, 234, 281n17, 282n25
Works:
Gardener’s House at Antibes 42
Rouen Cathedral, West Facade 175
Water Lilies 139
Waterloo Bridge, London, at Dusk 170, 226
Monochrome underpainting 123 See also Dead coloring
Moran, Thomas 306
Mordant gilding 88, 314
Morisot, Berthe 86, 290
Mother and Child (Picasso) 54, 55, 271n47
Motherwell, Robert 237, 281n13, 282n24, 285n13, 292
Reconciliation Elegy 237
Muller, Norman E. 21, 243
Munch, Edvard 84, 144, 234, 235, 308
Death and the Maiden 235
Self-Portrait Beneath a Woman’s Mask 148
Munich, Alte Pinakotek: Giotto 18, 19; 262
Museum viewing etiquette 278n57
My Grandparents, My Parents and I (Family Tree) (Kahlo) 60, 64
Mytens, Daniel 307
Nativity (Perino del Vaga) 12–13
Neo-impressionism 234, 282n26
Netherlandish 7, 113, 187, 246, 293, 303, 309, 310 See also Dutch
Neue Sachlichkeit 302
New York
— Brooklyn Museum: Mexican devotional painting 60, 61
— Frick Art Museum: Constable 200
— Metropolitan Museum of Art:
Chardin 195
Degas 67
Gauguin 239
Giotto 18
La Tour 106, 107
Lemoine 74
O’Keeffe 277n49
Still 237
Tiepolo 272n6
Van Dyck 67
Van Gogh 165
Vigée-Lebrun 8, 262, 265
— Museum of Modern Art:
Bacon 168, 169
Kahlo 64
Lam 68
Lawrence 82–83
Monet 139
Pollock 150–51
Siqueiros 145, 264, 265
— Pace Gallery: Irwin 258
Newman, Barnett 141, 292
Stations of the Cross 292
Newman, Richard 25
Newton, H. Travers 111, 144, 269n26, 272n18, 282n26
Nicholson, Benedict 107, 303
Nicolaus, Knut 14, 152
Night Watch (Rembrandt) 171, 269n20, 278n54, 311
Nirvana, Portrait of Meyer de Hahn (Gauguin) 31, 34–35
Nolde, Emil 236, 282n30
Nondestructive examination See also X-radiography
definition of 314
of grounds 72–73
of paint layer 177–213
ultraviolet examination 13, 179–82, 220, 222–23, 224
visible light 177–78
Novros, David 275n28
O’Dougherty, Brian 246
Oil gilding See Mordant gilding
Oil varnish 230, 231, 314
Oils See Drying oils
O’Keeffe, Georgia 38, 111, 269n29
Black Hollyhock, Blue Larkspur 277n48, 306
Olin, Jacqueline S. 192
Olitiski, Jules 275n28
1° 2° 3° 4° (Irwin) 258
Optivisor 72
Orange, Conn., Josef and Anni Albers Foundation: Albers 257
Ortéga y Gasset, José 246
Orton, Fred 111, 126
Oslo
— Munch Museum: Munch 148, 235
— National Gallery: Munch 234
Oudry, Jean-Baptiste 217
Our Lady of the Rosary with Saints (Mexican eighteenth century) 61
Overpaint 200–202, 201, 223, 224, 314
Oxford, Ashmolean Museum: Uccello 95
Oxidation 33, 314
Paint application
alla prima technique 121, 123
experimental application 126, 130–47
with fingers 130, 132, 133, 134, 135
historical development of brushes 126, 130
ideological concerns behind modernist experiments 144–47
layering 121, 123
with oils 121–26
with palette knives 130, 130, 131
sequencing of 123, 127
sources on politics of brushwork 126
Paint layer
aging effects of 152–77
autoradiography of 192
binding media in 110–11
case studies on 107–8, 107–9, 134–44.194–213
cross-sections for examination of 105
drying oils 113, 116–20
egg tempera 111–12, 274nn12–13
experimental paint application 126, 130–47
gilding, tooling, punchwork 109–10
handling of oils 121–47
ideological concerns behind modernist experiments 144–47
infrared examination of 186–92, 188–91, 203, 206–9
nondestructive examination of 177–213
pigments 102
size (distemper) and other temperas 112–13
synthetic media 147, 276n33
textural additives 147, 149–53, 151
ultraviolet examination of 179–82
and varnish 217, 240–41
viscosity 134–40
visible effects of prior treatment 170–77
visible light for examination of 141, 142–43, 144, 177–78
X-radiography of 182–86
Paint losses 169–70
Painting (Bacon) 168, 169
Palazzo Venezia Master St. Corona 22, 24
St. Corona 22, 24
St. Victor 22–23, 24
Palette knife 3, 130, 130, 131, 132, 314
Palm (Bonnard) 227
Panels
cradles for 10
craquelure of 152–53
dating through dendrochronology 7, 9, 267n2
definition of 314
early Italian construction 14
early Spanish construction 14
with engaged frames 71, 246, 247
fakes on aged panels 9
laid down paper on 65, 67–68, 271n56
paint losses on 169
priming of panels with engaged frame 71
Sienese method of joining 21, 24
Spanish panels 231
technical examination of 14–15
textured panels 25, 26–27
transfer of paint from 12, 153, 177
varnish on early panels 230–31
visibility of grain of 160, 161
X-radiography of 14
Paolo di Giovanni Fei Presentation of the Virgin in the Temple 90–91
Paper supports 65, 67–68, 271n56
Papillotant (butterflylike) 239
Paragone 58, 60
Paris
— Bibliothèque National: Dürer 274n14
— Centre Georges Pompidou 265
— Musée Gustave Moreau 265
— Musée d’Orsay: Pissarro 283n33
— Musée du Louvre:
Bulgarini 22
Dürer 274n114
Leonardo da Vinci 13
Rembrandt 220
Titian 245, 309
Veronese 48
Vigée-Lebrun 8
— Yves Klein Archives: Klein 137
Partial varnish removal 222, 314
Pastiglia 88, 89, 110, 315
Peinture à l’essence 146, 315
Pentecost (Giotto) 18, 20
Pentimento, pentimenti
art historians’ interest in 126
in Caravaggio’s work 273n28
and craquelure 155
definition of 126, 315
and increasing transparency of paint with age 161
infrared examination of 187
interpretations of 126
in Raphael’s work 243
reasons for visibility of 126
in Rembrandt’s work 121
in Titian’s work 120
in Van Gogh’s work 129
in Velázquez’ work 3, 124–25, 212, 213
X-radiography of 182, 186, 193, 193, 194–99
Percival-Prescott, Westby 38, 70, 270n32, 271n4
Peres, Cornelia 240, 28on4, 283n35
Périer d’leteren, C. 25, 123
Periera, Irene Rice 289
Two White Planes 149
Perino del Vaga Nativity 12–13
Perry, Roy 276n33
Perspective 92, 93, 94–98, 95–97, 206, 207–9
Peruvian Colonial School 293
Philadelphia, Museum of Art: Lorenzetti 173
Lorenzetti 173
Masaccio 311
Masolino 311, 262, 264, 265
Philippot, Paul, 174
Phillip IV (Velázquez) 124–24
Photomicroscopy 178, 315
Picasso, Pablo
autoradiographic examination of work of 192
craquelure in works of 276n39
enamel used by 144, 147
sources on 291, 304, 305
varnish rejected by 236
Works:
Guernica 276n39
Landscape with Posters 144, 276n31
Mother and Child 54, 55, 271n47
Saltimbanques 292
Pieced canvas 49–53, 51, 52
Piero della Francesca 134
Pigments
autoradiography for examination of 192
based on intellectual factors 103
case study on 107–8
choice of, chronology of common pigment use 261
definition of 315
fugitive pigments and color changes with age 161–69, 277n47
identification of 103, 105, 107, 109, 260–61
lake pigments 102, 162, 164, 167, 223, 261, 277n45, 277n47
sampling of 105
Pinpoint flaking 169, 315
Pippin, Horace 298
Pissarro, Camille
absorbent grounds used by 84
framing paintings behind glass 238
palette knife work by 130
sources on 290, 291, 302
varnish rejected by 233, 234, 283n33
Works:
Fox Hill, Upper Norwood 221
Landscape at Chaponval 283n33
Plaster 315 See also Gesso
Plesters, Joyce 73, 112, 280n7
Pliny 218, 280n8
Plywood supports 32
Pockmarked ground 71, 79
Polke, Sigmar 31, 103, 144, 306
Hochsitz mit Ganse (Watchtower with Geese) 36, 37
Pollock, Jackson
enamel used by 147
experimental paint application by 134, 138
and sand incorporated into paint 3–4, 150
and Siqueiros 150, 151
sources on 292, 296, 309, 311
Works:
Bird 150, 151
Blue poles 138, 141–44, 142–43
Full Fathom Five 150–51
Polyptychs
framing of 246, 248–49
Sienese method of joining panels 21, 24
Portrait After a Costume Ball (Portrait of Mme Dietz-Monnin) (Degas) 146
Portrait of a Man (Titian) 243, 244–45
Portrait of a Man Trimming His Quill (Rembrandt) 44–46, 45
Portrait of a Young Woman Seated (Rembrandt) 44–46 45, 270n37
Portrait of the Sisters Zénaîde and Charlotte Bonaparte (David) 81
Post-impressionism 229–30, 253, 298
Pousette-Dart, Richard 276n39, 297
Prague, Narodni Galeri: 264
Poussin, Nicolas 28, 228–29, 304
Preparatory layers 69–72, 315 See also Ground
Prepriming 72
Pre-Raphaelites 299, 302
Presa, Marta 231
Presentation (Giotto) 18
Presentation of the Virgin in the Temple (Paolo di Giovanni Fei) 90–91
Preti, Mattia 50
Price, Nicholas Stanley 174
Primary scalloping 44, 315 See also Scalloping; Secondary scalloping
Primavera (Botticelli) 74, 119, 274n15, 289
Priming See also Ground
definition of 70, 315
of fabric supports 41, 43
in Hals’ portraits 46, 47
imprimatura 71, 77
as layer of ground 70, 71
“Primitivism of technique” 144, 147, 233, 238, 240
Prince Baltasar Carlos on Horseback (Velázquez) 42, 124
Princess from the Land of Porcelain (Whistler) 252
Provenance 107
Pueblo (Tamayo) 30, 31
Punches 109, 110, 315
Purification of the Virgin (Lorenzetti) 21
Pyroxylin enamel 144
Quebec City painters 300
Queen of Hearts (de Kooning) 188, 310
Rabbet 225, 315
Radiography See X-radiography
Ragghianti, Carlo 206
Raking light 72, 88, 94, 98, 146, 157, 178, 203, 205, 225, 315
Ramsay, Allan 301
Raphael (Raffaello Sanzio)
cradle for panel of 10
crossbars for wood supports used by 10–11, 11
sources on 123, 296, 305
transfer of panels of 12
underdrawings in works of 160, 187, 191, 192
Works:
Cardinal 11
Holy Family (La Perla) 11
Julius II 193, 193, 243, 296
Madonna of the Oak 10, 11
Small Cowper Madonna 10, 160, 191, 192
Rapt at Rappaport (Davis) 306
Rauschenberg, Robert 137
Raw canvas See Unprimed canvas
Reconciliation Elegy (Motherwell) 237
Red Cross Knight (Copley) 158
Red lakes, identification of 277n47
Reframing 253 See also Framing
Reff, Theodore 144
Regentesses of the Old Men’s Almshouses (Hals) 46, 269n22
Regilding 171, 174, 315
Regional painting practice See also Mexican
American West 306
Guatemalan colonial 305
nineteenth-century American use of textured panels 25, 26–27
and paper supports 65
Quebec City 300
sources on 25
and stone supports 60
Reinhardt, Ad 254
Relining 33, 315 See also Lining
Rembrandt van Rijn
autoradiography examination for works of 192, 288
canvases of 28
discolored varnish on works of 220
ground used by 77, 272n8
oil medium used by 119
paint application by 138, 275n26
use of pentimenti 121
sources on 126, 288, 291, 293, 309, 311
Works:
Alexander the Great 49–53, 51, 52, 254, 291
Anatomy Lesson 171, 278n54
Aristotle with the Bust of Homer 50
Man in Armour 49–53, 51–52
Night Watch 171, 269n20, 278n54, 311
Portrait of a Man Trimming His Quill 44–46, 45
Portrait of a Young Woman Seated 44–46, 45, 270n37
Remington, Frederic 306
Removal of varnish 241
Renaissance 288, 293, 294, 296, 298, 302, 303
“Renewing” the varnish layer 218–19
Renoir, Pierre-Auguste 169, 234, 278n51, 290
La Loge 176
Repaint 169, 171, 174, 179, 182, 186, 278n55, 315
Resin 113, 217, 315
Rest on the Flight to Egypt with St. John the Baptist (Fra Bartolommeo) 118
Reticulation 315
Retouches 171, 174, 179, 222, 315 See also Inpainting
Reuse of canvas 185
Revivalist eggwhite varnish 238, 240
Revivals
of medieval technique 144
tempera revival in twentieth century 113, 147
Reynolds, Joshua 161, 167, 167, 232, 240, 274n11, 301, 305
Ladies Amabel and Mary Jemima Yorke 167
Rhyne, Charles 60, 200, 202, 279nn70–72, 285n17
Ribera, José 50
Rice, Danielle 111
Rich 315
Richardson, John 236, 281n13
Richter, Gerhard 295
Ricordo (copy) 197
Rie, René de la 217
Riley, Bridget 254
Ringgold, Faith 305
Roberts, Lynn 246
Robertson, Giles 206
Rodas Estrada, Juan 25
Rome
— Galleria Doria Pamphili 265
— Vatican Museum: Leonardo da Vinci 134; 265
Rosa, Salvator 50
Rosen, Charles 126
Rosno Crucifix (Giotto) 230
Rosso Fiorentino Allegory of Salvation 127
Rothe, Andrea 29, 274n10
Rothko, Mark
exhibitions 252
lighting while working 285n13
sources on 292, 301
technique of 270n31, 277n48, 282n31
varnish rejected by 237, 282n31
on viewing conditions and light levels, 256, 284n13.
Works: Harvard Murals 164, 166, 237, 277n49, 302
Rothko Chapel 282n31
Rothko Chapel 282n31
Rouart, Denis 134, 144
Rouen Cathedral, West Facade (Monet) 175
Round Table (Braque) 84, 85
Roy, Ashok 50, 73, 105, 112, 269n29, 272n8, 273n4, 278n60
Royal Academy, London 229, 240
Rubbings See Frottage
Rubens, Peter Paul 53, 290, 307
Rubin, William 253, 284n9
Ruurs, Robert 215
Ryder, Albert Pinkham 192, 231–32, 241, 290
Ryder’s House (Hopper) 130, 131
Ryman, Robert 307
Archive 252, 253
Sacrifice of Isaac (Caravaggio) 99, 273n26
St. Ansanus Altar (Simone Martini) 21, 24
St. Catherine of Siena Altar (Bellini) 283n6
St. Corona (Palazzo Venezia Master) 22, 24
St. Crescentius Altar (A. Lorenzetti) 21
St. Jerome (Leonardo da Vinci) 134
St. Louis, Washington University Gallery 265
Saint Luke (Simone Martini) 74, 247
St. Paul (Daddi) 163
St. Petersburg
— Pushkin Museum: Bonnard 227
— State Hermitage: Icon with Military Saints George, Theodore, and Demetrios 174
Malevich 216
St. Savinus Altar (P. Lorenzetti) 21
St. Victor (Palazzo Venezia Master) 22–23, 24, 289
St. Vincent Altarpiece in Siena Cathedral 21–24, 22–23
St. Zaccaria Altarpiece (Bellini) 283n6
Salomé (Tanner) 159
Salon 259
Saltimbanques (Picasso) 292
Sampling 105, 223, 225, 278n60, 315
Samuel Alleyne Otis (Stuart) 26
San Francisco, Museum of Modern Art:
Derain 185
Matisse 227
Ryman 252
Still 237
San Pier Maggiore Altarpiece (Cione) 230–31, 248–49
San Zeno triptych (Mantegna) 247, 251
Sanchez Coello, Alonso 288
Sand in paint 3–4, 150
Sand painting 150
Sano di Pietro Virgin and Child with St. Nicholas of Bari and Mary Magdalen 15
Santissima Annunziata altarpiece (Lippi) 247, 283n3
São Paulo, Museu de Arte de São Paulo: Sargent 305
Saturation 280n3
Scalloping
definition of 43, 315
primary scalloping 44
secondary scalloping 44
technical examination of 29, 39, 43–44
in Velázquez’ work 42
Scarpa, Carlo 253, 284n9
Schleier, Erich 54
Schoute, Roger van 14, 186, 246
Schwitters, Kurt 299
Scorel, Jan van 294
Scumble 315 See also Glazing and scumbling
Seated Man (de Kooning) 310
Sebastiano del Piombo, Clement VII 58, 60, 61
Seckler, Dorothy Gees 144, 276n31, 276n33
Secondary scalloping 44, 315 See also Primary scalloping; Scalloping
Selective cleaning 220, 222, 315
Self-Portrait (Degas) 67
Self-Portrait (Leyster) 182–83
Self-Portrait Beneath a Woman’s Mask (Munch) 148
Self-Portrait Dedicated to Carrière (Gauguin) 36
Self-Portrait in the Studio (Goya) 255
Self-Portrait, Les Misérables (Gauguin) 86
Self-Portrait with Daughter (Vigée-Lebrun) 7, 8
Senator Thomas Hart Benton (Jouett) 27
Seurat, Georges
fugitive pigments in paintings by 162
sources on 294, 302, 311
visible areas of panels used by 161
wood supports used by 3, 6, 7, 267n1
Works:
Study for “La Grande Jatte” 3, 6, 7
Sunday Afternoon on La Grande Jatte 6, 103, 104, 162, 238, 294, 311
Sgraffito 89, 109, 116, 315
Shahn, Ben 79, 297
Shank, J. William 237, 282n31
Shannon, Charles Bath of Venus 219
Shearman, John 9
Shell gold 88, 315
Shellac 71, 217, 222, 315
Sheriff, Mary D. 126
Shiff, Richard 126
“Show-card tempera” 113
Shrinkage crackle See Drying crackle
Siccatives See Drying agents
Sickert, Walter 303
Siena, Opera Del Duomo: P. Lorenzetti, 21
Siena Cathedral, St. Vincent Altarpiece 21–24, 22–23
Sienese
fifteenth-century 91
fourteenth-century 21–24, 295
Silver leaf 162, 163
Simon, Jacob 246
Simone Martini 306–7
Annunciation 21, 23, 24
Saint Luke 74, 247
Sinking 161, 277n43, 315
Siqueiros, David Alfaro 137, 144, 147, 150, 151, 297
Collective Suicide 145
Sisley, Alfred 290
Size 70, 112, 114–15, 146, 274n15, 315 See also Distemper
Small Cowper Madonna (Raphael) 10, 160, 191, 192
Smalt 162, 163, 261, 315
Smeyers, Maurits 25
Smith, Alistair 112, 114, 246, 280n7
Soap Bubbles (Chardin) 194, 195–96
Sobré, Judith 14, 246
Sofonisba Anguissola 288, 307
Sohm, Philip 121
Somer, Paul van 307
Sonnenburg, Hubert von 53, 192, 268n6
Soutine, Chaim 300
Spanish
early panel construction 14
fourteenth- and fifteenth-century 25, 228, 307
sixteenth- and seventeenth-century 121, 197–98, 288
Specular light 315
Spencer, Stanley 303
Spirit varnish 217, 315
Sprayed paint application 134, 136, 137, 144, 151
Sprayed varnish 218, 223
Spring, Marika 228, 231
Stamps 41, 42, 315
Stations of the Cross (Newman) 292
Stavitsky, Gail 111
Stechow, Wolfgang 132
Steele, Elizabeth 82, 272nn12–13
Steinberg, Leo 278n55
Steinhof, Judith B. 21
Steir, Pat 301
Stella, Frank 277n48, 293, 305
Stencil 36–37, 134, 136, 144, 145
Stijl, De 302
Still, Clyfford 237, 282n31, 299
Stippling 160, 161
Stone supports 58, 60, 61, 70
Stoner, Joyce Hill 231, 241, 274n11, 283n37, 285n15
Stour Valley with Dedham in the Distance (Constable) 201
Stout, George 132, 217, 260
Strainers 39, 270n31, 315
Stress crackle See Impact crackle
Stretcher marks 153, 153, 316
Stretchers 39, 40, 41, 315
Strip lining 38, 316
Stripped state 156, 316
Strozzi Altarpiece (Cione) 249
Structure of painting 3–4
Stuart, Gilbert 25
Baron Fitzgibbon 30, 31
Samuel Alleyne Otis, 26
Stubbs, George 295, 274n11, 308
Horse Attacked by a Lion 60, 62
Stuckey, Charles 278n51
Study for “La Grande Jatte” (Seurat), 3, 6, 7
Study Head of a Young Woman (Van Dyck) 67
Sunday Afternoon on La Grande Jatte (Seurat) 6, 104, 162, 238, 294, 311
Supper at Emmaus (Titian) 243, 244–45
Support
adhesion of ground to 71
artists’ board and paper laid to canvas or panel 65–68
case studies on 16–27, 44–58
definition of 316
expedient choice of 30, 31, 32
fabric supports 28–58
as paragone 58, 60
stone and metal 58, 60–64, 70
visibility of, with age 161
wood supports 5–27
Suprematism 302
Surface abrasion See Abrasion
“Surface colors” 138
Surrealism 151
Surrender of Breda (Velázquez) 213
Swicklik, Michael 201, 217, 233, 234, 279nn69, 71, 72, 280n4, 282n24
Swimming (Eakins) 171, 308
Symbolist painting 272n14
Synthesized pigments 102–3
Synthetic paints 147, 276n33
Synthetic varnishes 217, 218, 222
Szafran, Yvonne 206, 280n74
Tableau No. IV: Lozenge Composition with Red, Grey, Blue, Yellow, and Black (Mondrian) 157, 203, 204–5
Tache 132
Tack, Augustus Vincent 294
Tacking margins 39, 40, 41, 43, 72, 155, 225, 316
Talley, M. Kirby, Jr. 174, 274n11
Tamayo, Rufino 308
Pueblo 30, 31
Tanner, Henry Ossawa 238, 274n11, 302–3
Salomé 159
Tansey, Mark 293
Taylor, Basil 60, 200
Technical examination
definition of 2, 316
questions addressed by 2
of wood panels 14–15
Tellurium 103
Tempera See also Distemper; Egg tempera
and American artists 79, 272n13
definition of 110, 316
egg tempera 111–12, 274n10, 274nn12–13
revival of, in twentieth century 113, 147
“show-card tempera” 113
size (distemper) and other temperas 112–13
varnish on early tempera panels 230–31
Tempera grassa 119
Tempera magra 112
Textiles See Fabric supports
Textural paint additives 147, 149–51, 151
Textured grounds 71, 79–83
Textured panels 25, 26–27
Theft of gilding 110
Theotokópoulos, Doménikos See Greco de Toledo (Doménikos Theotokópoulos)
Thiel, Pieter van 192, 246
Thompson, Daniel V. 113
Three Tahitian Women (Gauguin) 238, 239
Thurmann-Moe, Jan 144, 148, 234, 272nn17–18
Tiepolo, Giovanni Battista
Apollo and Phaëton 74, 76
Madonna of the Goldfinch 73
Tilborch, Louis van 253
Titian, Vecellio
absorbent grounds used by 84
painting method of 121, 123, 124, 132
pentimenti used by 120 sources on 309, 311
Works:
Bacchus and Ariadne 105, 289
Doge Andrea Gritti 122
Ecce Homo 120
Portrait of a Man 243, 244–45
Supper at Emmaus 243, 244–45
Venus and Adonis 311
“Titian’s dirt” 231, 241
Tonalism, American 282n25
Toners 216
Tooker, George 113
Tooling 109, 110, 116–17
Torres-García, Joaquin Composition 184
Toulouse-Lautrec, Henri de 291
Townsend, Joyce 31, 123, 229–30, 269n25, 270n30, 274n11, 281n14
Traction crackle See Drying crackle
Transfer
definition of 316
from fabric supports 33, 177
need for 11
from panels 11–12; 177
Transparency of paint layer with age 127, 160, 161, 276n41
Tratteggio 171, 172–73, 316
Trompe l’oeil 206
Tüchlein See Distemper
Turner, Elizabeth Hutton 111
Turner, Joseph Mallord William 31, 123, 147, 229, 240–41, 270n30, 274n11, 308
Turquet de Mayerne, Theodore 307
Tuscan
altarpieces 230
painting 134, 297
Twilled canvas 25
Two Personages in Love with a Woman (Miró) 60, 62
Two Venetian Ladies (Carpaccio) 208–9
Two White Planes (Periera) 149
Uccello, Paolo 94–98, 299
Hunt in the Forest 94, 95–97, 98, 299
Ultramarine 102, 163, 261, 316
Ultraviolet (UV) examination 13, 179–82, 220, 222–23, 224, 316
Underbound paint 152, 316
Underdrawings
autoradiographic examination of 192
infrared examination of 187, 188–91, 192, 203, 206, 208, 278–79n62
in specific works 160, 183, 187, 188–92
and Venetian painting technique 123
visibility of, with age 160, 161
Underpainting 182, 186 See also Lay-in
Unfinished paintings 265
Unlined canvases 35, 177, 262, 269n28
Unprimed canvas 70, 86, 87
Unvarnished works 225, 227, 233–38, 233, 262–64
Utrecht Caravaggisti 77
UV examination See Ultraviolet examination
Vandalization 278nn54–55
Varnadoe, Kirk 134
Varnish
aging of varnish layer 218, 219
composition of 217–18
craquelure in 155
definition of 316
discolored varnish 219, 220, 221, 228, 280n7
distemper and 112–13
on early panels 230–31
eggwhite varnish 230, 281n18, 238, 240, 283n35
“feeding” the varnish 219
glazing as alternative to 238
identification of 223, 225–30
incorporated into and between paint layers 217
natural tight examination of 220–22
nineteenth-century darkening glazes and tinted varnishes 231–33, 241
nineteenth- and twentieth-century opposition to 233–40
oil varnish 230, 231
O’Keeffe’s use of 38
paint on top of varnish layer 240–41
partial varnish removal 220, 222
physical and aesthetic function of 215–16
removal of 241
“renewing” the varnish 218–19
revivalist eggwhite varnish 238, 240
selective cleaning of 220, 222
seventeenth-century aesthetics of 215
sources on 215, 217
sprayed varnish 218, 223
stains on reverse of canvas 220, 221
synthetic varnishes 218, 222
technical examination of 214–15
ultraviolet examination of 222–23, 224
uses other than for coatings 217
Vasari, Giorgio 28, 94, 112–13, 3°9
Vegetable gum See Resin
Velázquez, Diego de
canvases of 28
influences on 122
pentimenti in works by 3
pieced supports used by 53
sources on 123, 291, 295, 301
Works:
Adoration of the Magi 211
Coronation of the Virgin 269n22
Court Jester Barbarroja, D. Cristóbal de Castañeda y Pernia 212
Drunkards 269n22
Forge of Vulcan 211
Las Meninas 40
Phillip IV 124–25
Prince Baltasar Carlos on Horseback 42, 124
Surrender of Breda 213
Villa Medici 269n22
Velde, Esias van de 161
Velde, Jan van de 16, 17
Veliz, Zahira 25
Venetian
alla prima technique 121, 123
colorists 84, 121
sixteenth-century 103, 121
sources on 198, 298
and Spanish painters 198
veneration of, by later artists 231
Venice
— Museo Correr: Carpaccio 206, 209
— Santa Maria Gloriosa dei Frari: Bellini 249
Venus and Adonis (Titian) 311
Vermeer, Johannes 92, 93, 192, 288, 299, 310
Girl with Pearl Earring 71, 156, 169
Woman Writing a Letter 92, 93
Vermilion 162, 163, 277n45, 278n50, 316
Vernice liquida 230
Veronese (Paolo Caliari) 84, 231, 290, 296
Virgin and Child with St. Justine, St. George, and a Donor 48
Verougstraete-Marcq, Hélène 14, 186, 246, 281n19
Verrocchio workshop: Madonna and Child 134
Vieira da Silva, Maria Elena: Easels 233
Vienna, Akademie der bildenden Künste: Rembrandt 45, 262
Vienna Secession 302
View at Rehnen (van Goyen) 160
Viewing conditions 254–59, 284n13, 285nn15–16
Vigée-Lebrun, Elisabeth Louise
Marquise de Pezé and the Marquise de Rouget with Her Two Children 154
Self-Portrait with Daughter 7, 8
Villa Medici (Velázquez) 269n22
Vingt, Les 302
Virgin and Child (Gossaert) 223, 224
Virgin and Child with St. Justine, St. George, and a Donor (Veronese) 48
Virgin and Child with St. Nicholas of Bari and Mary Magdalen (Sano di Pietro) 15
Virgin of the Rocks (Leonardo da Vinci) 13, 247
Viscosity 134–40
Visible light
for examination of paint layer 177–78
for examination of varnish 220–22
Visscher, Cornelis 44
Vollard, Ambrose 38, 56, 58, 229, 234
Volle, Nathalie 123, 269n28, 278n53, 283n2
Vuillard, Edouard 144, 275n28
Wadum, Jørgen 92, 272n6, 273n21, 278n54, 293
Waitress (Manet) 38
Washington, D.C.
— Freer Gallery of Art, Smithsonian Institution: Whistler 252
— Hirshhorn Museum and Sculpture Garden, Smithsonian Institution:
Baranoff-Rossiné 136
de Kooning 188
Torres-García 184, 264
— National Gallery of Art:
Chardin 195
Constable 201
Copley 190
Dosso Dossi 162
Gaddi 108
Gauguin 36
El Greco 197, 199
Hartley 250
Holbein (the Younger) 163
Hopper 165
Kahn Madonna 180
Leonardo da Vinci 8, 135
Leyster 182
Manet 38
Mellon Madonna 180
Monaco 163
Mondrian 203, 205
Monet 175, 226
Paolo di Giovanni Fei 90
Perino del Vaga 12–13
Raphael 10, 191
Seurat 6
Stuart 26
Titian 122
Vigée-Lebrun 8, 262, 264, 265
— National Museum of American Art, Smithsonian Institution:
Hopper 131
Johnson 32
Tanner 159
— Phillips Collection:
Bonnard 227
Braque 85
Vieira da Silva 233
Water gilding 86, 316
Water Lilies (Monet) 139
Waterloo Bridge, London, at Dusk (Monet) 170, 226
Watson and the Shark (Copley) 190
Watteau, Antoine 298, 310
Watts, George Frederic 303
Wax
as binding media 110, 111
definition of 316
as lining adhesive 174, 175–76
as varnish, or coating above varnish 217–18
Wax linings 41
Weave emphasis 176
Wedgwood, Josiah 308
Weintraub, Steve 259
Wet-in-wet painting 316
Wetering, Ernst van de 28, 29, 46, 121, 123, 126, 138, 269n23, 274n15, 275n26
Weyden, Rogier van der 278n61, 288
Weymouth Bay (Bowleaze Cove) (Constable) 66
Wheelock, Arthur K. Jr. 267n2, 273n21
Whistler, James Abbott McNeill 259, 285n15, 296, 302, 308
Harmony in Blue and Gold (The Peacock Room) 252
White, Raymond 112, 228, 277n37
White, Robert 229
White grounds 70
White Horse (Constable) 200–202, 201
Whittredge, Worthington 306
Why Are You Angry? (Gauguin) 80–81
Wilmington, Delaware Art Museum: Homer 127
Williamstown, Mass., Clark Art Institute 264, 265
Wilson, Richard 231
Wimsatt, Justine S. 111
Window 238, 316
Winterthur, Reinhardt Collection: Manet 38
Wolfthal, Diane 29
Wolters, Christian 28
Woman Writing a Letter (Vermeer) 92, 93
Wood, Grant 305
Wood supports
aging and treatment of 9–12
for altarpieces 18–24
backs of 8, 9–11, 10, 11
case studies on 16–27
cradles for 9–11 10, 268n3
crossbars for 10–11
dating through dendrochronology 7, 8, 267n2
determination of status of individual work 16-17
nineteenth-century American texturing of 25–27
overview of 7
saw marks on edges of 14–15
sources on 14
technical examination of 14–15
types of wood 7
Wright, Caroline 246
Wright, Christopher 107
Wright of Derby, Joseph 35, 294
Wyeth, Andrew 79
Wyld, Martin 268n5, 269n28
X-radiography
of Caravaggio’s ground incisions 98
case studies on 193–205, 210–13
of Chardin’s works 194–96, 196
complementary use of infrared reflectography and 208, 210
of Constable’s White Horse 200–202, 201
definition of 316
of Derain’s Biblical Subject 185
of fabric supports 29, 38, 41, 43, 44–46, 45
of Giotto altarpiece 18, 19–20
of El Greco’s works 197–98, 199
of grounds 72
of Leonardo’s Ginevra de’Benci 134, 135
of lined canvas 41
of Mondrian’s Tableau No. IV 203–5, 205
of paint layer 182–86, 193–213
of pentimenti 182, 186, 193, 193, 194–99
of Picasso’s Mother and Child 54
of Raphael’s Julius II 193, 193
of Rembrandt’s Alexander the Great 49–50, 52
of scalloping 43
of St. Victor Altarpiece 24
of Stuart’s Samuel Alleyne Otis 26
of Torres-García’s Composition 184
value of 186
of Velázquez’ work 124–25, 210, 211–13
of Vermeer’s perspective construction 92
Yeats, Jack B. 283n33
Zerner, Henri 126
Zilczer, Judith 188
De Zurbarán, Francisco 25
Holy House of Nazareth 309
Index
Next chapter