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Processes and Performance in Renaissance Painting

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References

  1. E. Panoksky, Early Netherlandish Painting, Vol. 1, Harvard University Press (Cambridge, 1953) p. 2.

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  2. J. Hesters, “Ultramarine Blue, Natural and Artificial,” Studies in Conservation 11 (2) (1966) p. 62.

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  3. Ibid., p. 67.

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  4. H. Kühn, “Verdigris and Copper Resinate,” Studies in Conservation 15 (1) (1970) p. 12.

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  5. R. Gettens, R. Feller, and W. Chase, “Vermilion and Cinnabar,” Studies in Conservation 17 (2) (1972) p. 45.

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  6. C. Wolters, “The Care of Paintings: Fabric Paint Supports,” Museum XIII (1960) p. 137.

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  7. See M. Baxandall, “Bartholomaues Facius on Painting: A Fifteenth-Century Manuscript on the De Viris Illustrious,” Journal of the Warburg and Courtauld Institutes XXVII (1964) p. 103. This is the first documented evidence of a statement concerning research into the properties of color. It is a theme often repeated by early critics. See G. Vasari, in Le vite de’ piu eccellenti pittori, scultori ed architettori, Vol. II, edited by G. Milanesi (Sansoni, Florence, 1878), p. 565–567.

  8. M. Merrifield, Original Treatises on the Arts of Painting Vol. II (Dover, New York, 1967) p. 327.

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  9. Vasari, Vol. II, from Ref. 7, p. 563–567.

  10. Theophilus, De diversis artibus, translated by J. Hawthorne and C. Smith, On Divers Arts, Chapter 27, (Chicago University Press, Chicago, 1963), p. 33–34.

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  11. Petrus de S. Audemar, De Coloribus Faciendis, in M. Merrifield I, from Ref. 8, p. 138–141.

  12. Ibid., p. 114–115.

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Authors
  1. Ingrid C. Alexander
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Alexander, I.C. Processes and Performance in Renaissance Painting. MRS Bulletin 17, 28–31 (1992). https://doi.org/10.1557/S0883769400043219

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