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Preparation for Painting: The Artist's Choice and Its Consequences [Minkštas viršelis]

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  • Formatas: Paperback / softback, 208 pages, aukštis x plotis x storis: 305x213x12 mm, weight: 730 g, 114 Colour and Half Tone
  • Išleidimo metai: 09-Jul-2008
  • Leidėjas: Archetype Publications Ltd
  • ISBN-10: 1904982328
  • ISBN-13: 9781904982326
Kitos knygos pagal šią temą:
Preparation for Painting: The Artist's Choice and Its ConsequencesDidesnis paveikslėlis
  • Formatas: Paperback / softback, 208 pages, aukštis x plotis x storis: 305x213x12 mm, weight: 730 g, 114 Colour and Half Tone
  • Išleidimo metai: 09-Jul-2008
  • Leidėjas: Archetype Publications Ltd
  • ISBN-10: 1904982328
  • ISBN-13: 9781904982326
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781904982326.html
This volume consists of papers presented at the first conference devoted to preparatory layers used by artists
Foreword v
Acknowledgements vi
European documentary sources before c.1550 relating to painting grounds applied to wooden supports: translation and terminology
1(13)
Jilleen Nadolny
An icon of St George: preparation for a portrait of a saint
14(8)
Lynne Harrison
Robin Cormack
Caroline R. Cartwright
Janet Ambers
Not just panel and ground
22(8)
Erling Skaug
The colour of canvas: historical practices for bleaching artists' linen
30(12)
Gunnar Heydenreich
Remarkably improved spatial resolution in SEM images of paint cross-sections after argon ion polishing
42(8)
Jaap J. Boon
Jerre van der Horst
Imaging chemical characterisation of preparatory layers in fifteenth- and sixteenth-century northern European panel paintings
50(9)
Ester S.B. Ferreira
Rachel Morrison
Jaap J. Boon
Grounds on canvas 1600-1640 in various European artistic centres
59(9)
Elisabeth Martin
Selective darkening of ground and paint layers associated with the wood structure in seventeenth-century panel paintings
68(11)
Petria Noble
Annelies van Loon
Jaap J. Boon
Reconstructing seventeenth-century streaky imprimatura layers used on panel paintings
79(13)
Maartje Stols-Witlox
Tiarna Doherty
Barbara Schoonhoven
Not preparation but impregnation: transparent paintings of the late eighteenth century painted by Giovan Battista Bagutti (1742-1823)
92(8)
Sara De Bernadis
`The whole world is angelikamad': preparatory layers on canvas used by Angelika Kauffmann
100(10)
Inken Maria Holubec
Historically accurate ground reconstructions for oil paintings
110(13)
Leslie Carlyle
Jaap J. Boon
Ralph Haswell
Maartje Stols-Witlox
The mechanical response of flour-paste grounds
123(9)
Leslie Carlyle
Christina Young
Suzanne Jardine
Canvas and its preparation in early twentieth-century British paintings
132(9)
Sarah Morgan
Joyce H. Townsend
Stephen Hackney
Roy Perry
Flocked canvases: a special fabric for pastel paintings
141(6)
Kathrine Segel
Mikkel Scharff
Southeast Asian oil paintings: supports and preparatory layers
147(9)
Nicole Tse
Robyn Sloggett
Delaminating paint films at the end of the 1950s: a case study on Pierre Soulages
156(7)
Paulin Helou-de la Grandiere
Anne-Solenn Le Ho
Francois Mirambet
Comparing contemporary titanium white-based acrylic emulsion grounds and paints: characterisation, properties and conservation
163(9)
Bronwyn A. Ormsby
Eric Hagan
Patricia Smithen
Thomas J.S. Learner
Cold temperature effects of modern paints used for priming flexible supports
172(8)
Christina Young
Eric Hagan
Filling materials for easel paintings: when the ground reintegration becomes a structural concern
180
Laura Fuster-Lopez
Marion F. Mecklenburg
Maria Castell-Agusti
Vicente Guerola Blay