DOCSLIB.ORG

Color Changes and Chemical Reactivity in Seventeenth-Century Oil Paintings © Annelies Van Loon 2008

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Color Changes and Chemical Reactivity in Seventeenth-Century Oil Paintings © Annelies Van Loon 2008 Color Changes and Chemical Reactivity in Seventeenth-Century Oil Paintings © Annelies van Loon 2008 All rights reserved. No parts of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without the prior permission in writing of the author. The work described in this thesis was performed at the FOM Institute for Atomic and Molecular Physics (AMOLF), Molecular Paintings Research Group, Kruislaan 407, 1098 SJ Amsterdam, The Netherlands. The research is part of the De Mayerne program of the Netherlands Organization for Scientific Research (NWO) and the research program no. 49 (Mass spectrometric imaging and structural analysis of biomacromolecules) of the Foundation for Fundamental Research on Matter (FOM). ISBN/EAN 978-90-77209-17-2 Front cover Gerard van Honthorst, Frederik Hendrik’s Steadfastness, 1650-52, Oranjezaal, Royal Palace Huis ten Bosch, The Hague The Netherlands Microscope detail of whitened dark paint surface as a result of bone black degradation, see Fig. 3.B.2. Photo credit SRAL Maastricht Design & lay-out Annelies van Loon Edwin Verweij Color Changes and Chemical Reactivity in Seventeenth-Century Oil Paintings academisch proefschrift ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op dinsdag 15 januari 2008, te 12.00 uur door Annelies van Loon geboren te Alkmaar Promotiecommissie Promotor: Prof. dr. J.J. Boon Overige commissieleden: Dr. A. Burnstock Prof. dr. A.G.A. van Grevenstein-Kruse Dr. J. Kirby Atkinson Prof. dr. J.P. Filedt Kok Prof. dr. C.G. de Koster Prof. dr. P.J. Schoenmakers Faculteit der Natuurwetenschappen, Wiskunde en Informatica MOLART Reports This thesis is the fourteenth in the series of MOLART reports. The MOLART reports summarize research results obtained in the course of the MOLART and De Mayerne research programs supported by the Netherlands Organization for Scientific Research (NWO). 1. Molecular studies of fresh and aged triterpenoid varnishes, Gisela A. van der Doelen, 1999. ISBN 90-801704-3-7 2. A mathematical study on craquelure and other mechanical damage in paintings, Petri de Willigen, 1999. ISBN 90-407-1946-2 3. Solvent extractable components of oil paint films, Kenneth R. Sutherland, 2001. ISBN 90-801704-4-5 4. Molecular changes in egg tempera paint dosimeters as tools to monitor the museum environment, Oscar F. van den Brink, 2001. ISBN 90-801704-6-1 5. Discoloration in Renaissance and Baroque oil paintings, Margriet van Eikema Hommes, 2004. Archetype Publications, London. 6. Analytical chemical studies on traditional linseed oil paints, Jorrit D.J. van den Berg, 2002. ISBN 90-801704-7-X 7. Microspectroscopic analysis of traditional oil paint, Jaap van der Weerd, 2002. ISBN 90-801704-8-8 8. Laser desorption mass spectrometric studies of artist’s organic pigments, Nicolas Wyplosz, 2003. ISBN 90-77209-02-6 9. Molecular studies of Asphalt, Mummy and Kassel earth pigments: their characterization, identification and effect on the drying of traditional oil paint, Georgina M. Languri, 2004. ISBN 90-77209-07-7 10. Analysis of diterpenoid resins and polymers in paint media and varnishes; with an attached atlas of mass spectra, Klaas Jan van den Berg (forthcoming). 11. Binding medium, pigments and metal soaps characterized and localized in paint cross- sections, Katrien Keune, 2005. ISBN 90-77209-10-7 12. Paints quantified: image analytical studies of preparatory grounds used by Van Gogh, Beatrice Marino, 2006. ISBN-10 90-77209-19-6 ISBN-13 978-90-77209-19-6 13. Reporting highlights of the De Mayerne Program, research program on molecular studies in conservation and technical studies in art history, Jaap J. Boon and Ester S.B. Ferreira (editors), 2006. ISBN 90-77875-14-X 14. Color changes and chemical reactivity in seventeenth-century oil paintings, Annelies van Loon, 2008. ISBN/EAN 978-90-77209-17-2 Published MOLART reports can be ordered from Archetype Publications, 6 Fitzroy Square, London W1T 5HJ, UK, Tel: +44 207 380 0800 Fax: +44 207 380 0500, [email protected]. Photo credits Royal Picture Gallery Mauritshuis, The Hague Royal Collections, The Hague Margareta Svensson, Amsterdam Limburg Conservation Institute (SRAL), Maastricht State Building Agency (Rgd), The Hague Edwin Verweij, Amsterdam Mark Richter, Technical University Munich, Germany Kröller Müller Museum, Otterlo Staatliche Museen, Kassel, Germany Table of Contents Introduction 9 Chapter 1 Improving the Surface Quality of Paint Cross-sections for Analytical Imaging Studies with SR-FTIR and Static-SIMS 23 Chapter 2 The Relationship between Preservation and Technique in the Paintings of the Oranjezaal 43 Chapter 3 The Whitening of Bone Black in Oil Paint Films 93 Chapter 4 White Hazes and Surface Crusts on Dark Oil Paint Films 119 Chapter 5 Darkening as a result of Increased Transparency in 17thC Oil Paintings 205 Summary / Samenvatting 241 Dankwoord 257 About the Author 261 introduction Introduction color changes and chemical reactivity in traditional oil paintings Traditional oil paintings are not stable systems, and despite the fact that so many Old Master paintings are considered to be generally well preserved, the oil paint used by the seventeenth-century painters as discussed in this thesis is an extremely dynamic system, much more dynamic than is usually thought. Paintings are, in fact, subject to all kinds of chemical and physical processes taking place on a micro and molecular level in the paint layers that only over time (eventually) become visible changing the original appearance of the work of art. These processes are inherent to the artist’s choice of materials and his working methods. They are triggered or accelerated by external factors, such as light, moisture, heat, atmospheric pollutants, from display, storage or certain conservation and restoration interventions. Depending on the materials and the sorts of exposure these changes can be extreme or barely perceptible. Artists’ knowledge of materials can be inferred from historic sources. Seventeenth-century artists were generally well-educated professionals, who were organized in guilds in order to limit competition and to ensure the quality of work. Although they had a thorough knowledge of materials, commercial reasons also played a role in the choice of materials, production processes and speed with which paintings were produced. Artists were usually also well informed about the limited durability of some pigments, their knowledge corresponding with what we know today. Of course, they were not aware of all the possible paint defects that could occur, since some changes have only become visible after 50 or 100 years, or even longer. Historic sources reveal that of pigments and colorants used in traditional oil paintings, the red and yellow organic lake pigments, the blue organic colorant indigo, the blue cobalt-glass smalt, red lead, the blue/green copper pigment verdigris and lamp black were known to be the most problematic when used in oil. The organic pigments are susceptible to light fading, smalt paints have the tendency to turn brown or gray over time, red lead can grow lighter, verdigris glazes often become an opaque brown and lamp black may either darken or become whitish. The reason that they were still used predominantly lies with the limited choice or availability of pigments in that time. In other cases, economical reasons may have prevailed. In the historic recipes, various methods are described to prevent or minimize discoloration, such as limiting a light-sensitive pigment to the underpainting, bleaching the oil medium in the sunlight, substituting another type of binding medium, or the exclusive use of high quality materials [Van Eikema Hommes 2004]. The understanding of the painted work of art on a micro and molecular level has made considerable progression the past ten years partly due to the MOLART (1995-2002) and De Mayerne (2002-2006) NWO research programs, cooperative projects between scientists, conservators and art historians (see MOLART Reports), 10 but also to the development of analytical instrumentation and growing interest from the museums themselves for this kind of research. This knowledge has important consequences for the art historical interpretation of a painting, as well as for the preservation and presentation of the work of art. This thesis focuses on changes in appearance in seventeenth-century oil paintings as a result of natural ageing. It involves interdisciplinary research at the boundary of chemistry, conservation and art history. Interpretation problems that arose during restoration treatment of paintings formed the basis for much of the work. The case studies presented include paintings and painted ceilings from the Royal Picture Gallery Mauritshuis, the Oranjezaal ensemble in the Royal Palace Huis ten Bosch, the Johan de Witt house, the Trippenhuis, and the Staatliche Museen Kassel. They were examined in close collaboration with the conservators responsible for their care. The first chapter addresses the preparation of paint cross-sections and the various analytical techniques, mostly developed during the MOLART and De Mayerne programs for painting studies. Using the techniques as described in Chapter 1, the chemical and physical processes responsible for the degraded appearances of the paintings were investigated. The following four chapters deal with various degradation phenomena as encountered in seventeenth-century oil paintings. In the case of the unique ensemble of paintings of the Oranjezaal in the Royal Palace Huis ten Bosch, which was extensively investigated as part of this thesis, the paintings have remained in situ under known conditions with minimal intervention since 1650. The ensemble of 40 paintings offered a unique opportunity to investigate changes in appearance and ageing processes and relate them to other known materials and methods used by the various artists, since the external factors are similar.
Load more

Recommended publications
  • Büttner Antwerpener Maler
    Kunstgeschichte. Open Peer Reviewed Journal www.kunstgeschichte-ejournal.net NILS BÜTTNER (STAATLICHE AKADEMIE DER BILDENDEN KÜNSTE STUTTGART ) Antwerpener Maler – zwischen Ordnung der Gilde und Freiheit der 1 Kunst Zusammenfassung Den Antwerpener Malern wurde im Unterschied zu den in anderen Ländern Europas üblichen Standards über die verpflichtenden Ausbildungsjahre hinaus kein Probestück abverlangt. Auch die Satzungen der Gilden in Brügge, Brüssel sowie in den Städten der nördlichen Provinzen sahen kein Meisterstück vor. Dennoch scheint es allgemein nicht unüblich gewesen zu sein, zum Ende der Lehrzeit eine Probe seines Könnens abzulegen oder der im Namen des hl. Lukas zusammengeschlossenen Gemeinschaft zu anderer Gelegenheit ein Gemälde zu dedizieren, das dann in den Gildehäusern seinen Ort fand. Diesen Bildern und den spezifischen Bedingungen, unter denen man die Meisterwürde der Antwerpener Malergilde erwerben konnte, ist der Text gewidmet. <1> Gegen die Anfeindungen, denen Baron Van Ertborn sich ausgesetzt sah, boten weder seine adelige Abstammung noch die Summe der vorgeschobenen Ehrentitel einen wirksamen Schutz. Er hatte den Fehler begangen, nachdem er 1805 zum Ehren-Geheimschreiber der Antwerpener Akademie für Schöne Künste ernannt worden war, seine im Archiv dieser Institution gewonnenen Erkenntnisse der gebildeten Öffentlichkeit zur Kenntnis zu bringen. 2 Die 1663 gegründete Antwerpener Akademie war aus der St. Lukasgilde der Scheldestadt hervorgegangen, deren glorreiche Tradition bis ins ferne Mittelalter zurückreichte. Aus
    [Show full text]
  • A Catalogue of the Paintings at Doughty House, Richmond, & Elsewhere in the Collection of Sir Frederick Cook, Bt., Visconde
    A CATALOGUE OF THE PAINTINGS IN THE COLLECTION of SIR FREDERICK COOK, BT. A CATALOGUE OF THE PAINTINGS AT DOUGHTY HOUSE RICHMOND AND ELSEWHERE IN THE COLLECTION OF SIR FREDERICK COOK BT VISCONDE DE MONSERRATE Edited by HERBERT COOK, M.A., F.S.A. VOLUME I ITALIAN SCHOOLS By DR TANCRED BORENIUS LONDON • WILLIAM HEINEMANN A CATALOGUE OFTHE PAINTINGS AT DOUGHTY HOUSE RICHMOND ELSEWHERE IN THE COLLECTION OF SIR FREDERICK COOK BT VISCONDE DE MONSERRATE EDITED BY HERBERT COOK, M.A., F.S.A. HON. MEMBER OF THE ROYAL ACADEMY OF MILAN VOLUME II DUTCH AND FLEMISH SCHOOLS By J. O. KRONIG LONDON WILLIAM HEINEMANN M DCCCC XIV PREFATORY NOTE THE second volume of the Cook colledtion is devoted to the Dutch and Flemish Schools. The art of the so-called School of the Early Netherlands is reserved for the third volume, which will also contain the English, French, German and Spanish se&ions. In the present volume 190 Dutch and Flemish piitures are recorded, and of these 100 are illustrated either on photogravure plates or by collotype process. The former are executed by the Rembrandt Photogravure Co., of 36 Basinghall Street, E.C.; the latter are the work of Messrs Knighton & Cutts, of Red Lion Court, Fleet Street, E.C. As in the previous volume, single photographs can be obtained either from Signor Domenico Anderson, of Rome, or from Mr W. E. Gray, of 92 Queen’s Road, Bays- water; the register number for ordering is always quoted whenever the photograph exists. The text has been entrusted to Mr J.
    [Show full text]
  • Theodoor Van Thulden
    Theodoor van Thulden Deze barokschilder en navolger van en portretten. Van Thulden Rubens (1~77-~640)was in zijn tijd hecft twee maal met Rubens een beroemd en veelgevraagd artiest. samengewerkt. De eerste keer Sinds kort is hij nadrukkelijker pre- in 163411635. Van Thulden sent in de annalen van de Bossche schilderde toen mee aan de r geschiedenis: het Noordbrabants decoraties van twee door Museum in 's-Hertogenboschen het Rubens bedachte triomfbogen. Musée des Beaux-Arts in Straatsburg Deze werden opgericht ter organiseerden in 1991-1992 een ten- gelegenheid van de Pompa in- toonstelling over zijn werk. troïtus Ferdinandi, de glorieuze intocht in Antwerpen op 17 Theodoor werd op g augustus 1606 april 1635 van de Kardinaal- gedoopt in 's-Hertogenbosch als zoon Infant Ferdinand, broer van van Jacobus Gerardsz. van Philips IV en nieuwe gouver- Thulden en Heyltje neur van de Zuidelijke Neder- Dirdordr. van Meurs. landen. In de jaren 163611637 Hij was de oudste van werkte hij opnieuw met minstens 10 kinde- Rubens samen: hij schilderde L ren. Zijn vader was toen twee doeken naar een h lakenkoopman. ontwerp van Rubens voor de Zijn moeder stam- Torre de la Parada in Madrid. de uit een familie Tussen deze twee ondernemingen van de allegorische portretten die hij van belangrijke door, op 24 juli 1635, trouwde de bijna maakte. Ook de Bossche Vroede Vade- Bossche zilversme- 29-jarige schilder in Antwerpen met ren behoorden tot zijn diëntèle. Zij be- den, die behoorde tot de 17-jarige Maria van Balen (1618- stelden in totaal 4 schilderijen: Twee het stadspatriciaat. na 1655).
    [Show full text]
  • HNA November 2017 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 34, No. 2 November 2017 Peter Paul Rubens, Centaur Tormented by Peter Paul Rubens, Ecce Homo, c. 1612. Cupid. Drawing after Antique Sculpture, State Hermitage Museum, St. Petersburg 1600/1608. Wallraf-Richartz-Museum, © The State Hermitage Museum, Cologne © Rheinisches Bildarchiv Köln St. Petersburg 2017 Exhibited in Peter Paul Rubens: The Power of Transformation. Kunsthistorisches Museum, Vienna, October 17, 2017 – January 21, 2018 Städel Museum, Frankfurt, February 8 – May 21, 2018. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art www.hnanews.org E-Mail: [email protected] Historians of Netherlandish Art Offi cers President – Paul Crenshaw (2017-2021) Providence College Department of Art History 1 Cummingham Square Providence RI 02918-0001 Vice-President – Louisa Wood Ruby (2017-2021) The Frick Collection and Art Reference Library 10 East 71 Street New York NY 10021 Treasurer – David Levine Southern Connecticut State University 501 Crescent Street New Haven CT 06515 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents President's Message .............................................................. 1 In Memoriam ......................................................................... 2 Board Members Personalia ............................................................................... 4 Arthur
    [Show full text]
  • The Image of a Queen: the Representation of Catherine De’ Medici As
    THE IMAGE OF A QUEEN: THE REPRESENTATION OF CATHERINE DE’ MEDICI AS PENELOPE IN THE GALERIE D’ULYSSE by ELIZABETH LEHMAN MILLER (Under the Direction of Shelley Zuraw) ABSTRACT This study explores the patronage and significance of the five sixteenth-century fresco scenes illustrating the reunion of Ulysses and Penelope designed by Francesco Primaticcio in the no longer extant Galerie d’Ulysse at Fontainebleau. Correlations are drawn between the imagery represented in the frescoes and two other works of art from Primaticcio’s oeuvre: the tomb of King Henri II and Queen Catherine de’ Medici of France and a painting titled Ulysses and Penelope in the Toledo Museum of Art. Also examined in relation to the frescoes are Catherine de’ Medici’s efforts to create a positive public image of herself as Regent of France following the death of Henri II. It is argued that Homer’s Penelope was a suitable mythological character with whom Catherine de’ Medici could identify; and that the Galerie d’Ulysse frescoes of Ulysses and Penelope were a means of public propaganda for the recently widowed queen- regent. INDEX WORDS: Galerie d’Ulysse, Francesco Primaticcio, Fontainebleau, King Henri II of France, Queen Catherine de’ Medici of France, Tomb, Ulysses, Penelope, Reunion THE IMAGE OF A QUEEN: THE REPRESENTATION OF CATHERINE DE’ MEDICI AS PENELOPE IN THE GALERIE D’ULYSSE by ELIZABETH LEHMAN MILLER B.A., The University of the South, 2004 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for
    [Show full text]
  • ABSTRACT Title of Document: AMALIA VAN SOLMS and THE
    ABSTRACT Title of Document: AMALIA VAN SOLMS AND THE FORMATION OF THE STADHOUDER’S ART COLLECTION, 1625-1675 Virginia C. Treanor, Doctor of Philosophy, 2012 Directed By: Professor Arthur K. Wheelock, Jr. Department of Art History and Archaeology This dissertation examines the role of Amalia van Solms (1602-1675), wife of Frederik Hendrik, Prince of Orange and Stadhouder of the United Provinces of the Netherlands (1584-1647), in the formation of the couple’s art collection. Amalia and Frederik Hendrik’s collection of fine and decorative arts was modeled after foreign, royal courts and they cultivated it to rival those of other great European treasure houses. While some scholars have recognized isolated instances of Amalia’s involvement with artistic projects at the Stadhouder’s court, this dissertation presents a more comprehensive account of these activities by highlighing specific examples of Amalia’s patronage and collecting practices. Through an examination of gifts of art, portraits of Amalia and her porcelain collection, this study considers the ways in which Amalia contributed to the formation of the Stadhouder’s art collection. This dissertation seeks to provide a greater knowledge not only of Amalia’s activities as a patron and collector, but also a more throrough understanding of the genesis and function of the collection as a whole, which reflected the power and glory of the House of Orange during the Dutch Golden Age. AMALIA VAN SOLMS AND THE FORMATION OF THE STADHOUDER’S ART COLLECTION, 1625-1675 By Virginia Clare Treanor Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2012 Advisory Committee: Professor Arthur K.
    [Show full text]
  • The Leiden Collection Catalogue, 2Nd Ed
    Jan Brueghel the Younger (Antwerp 1601 – 1678 Antwerp) How to cite Bakker, Piet. “Jan Brueghel the Younger” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/jan-brueghel-the-younger/ (archived June 2020). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. Jan Brueghel the Younger belonged to the third generation of a famous dynasty of painters. He was baptized in the St George Church in Antwerp on 13 September 1601. His parents were Jan Brueghel the Elder (1568–1625), also known as “Velvet Brueghel,” and Isabella de Jode, daughter of the engraver Gerard de Jode.[1] His father was a famous and exceptionally successful painter who purchased a splendid house on the Lange Nieuwestraat in 1604. By that time, though, Jan had lost his mother, who had died the previous year. Soon thereafter his father took a second wife, Katharina van Marienberghe (d. 1627). Among the couple’s children was Ambrosius Brueghel (1617–75), who would also become a painter, and Anna Brueghel (1620–56), the future wife of the famous artist David Teniers the Younger (1610–90). Jan Brueghel the Younger would father Jan Pieter (1628–78) and Abraham Brueghel (1631–97), who constituted the fourth generation of this remarkable family of painters. Given his background it is hardly surprising that Brueghel became a painter. He received his first lessons from his father at the age of ten.
    [Show full text]
  • November 2014 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 31, No. 2 November 2014 Jacob Jordaens, Merry Company, c. 1644. Watercolor over black chalk, heightened with white gouache, 21.9 x 23.8 cm. The J. Paul Getty Museum, Los Angeles. Exhibited at The Getty Center, Los Angeles, October 14, 2014 – January 11, 2015. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President – Amy Golahny (2013-2017) Lycoming College Williamsport PA 17701 Vice-President – Paul Crenshaw (2013-2017) Providence College Department of Art History 1 Cummingham Square Providence RI 02918-0001 Treasurer – Dawn Odell Lewis and Clark College 0615 SW Palatine Hill Road Portland OR 97219-7899 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 HNA News ............................................................................1 Lloyd DeWitt (2012-2016) Stephanie Dickey (2013-2017) Personalia ............................................................................... 4 Martha Hollander (2012-2016) Boston Conference Photos ....................................................5 Walter Melion (2014-2018) Exhibitions .........................................................................
    [Show full text]
  • Michael Sweerts (1618-1664) and the Academic Tradition
    ABSTRACT Title of Document: MICHAEL SWEERTS (1618-1664) AND THE ACADEMIC TRADITION Lara Rebecca Yeager-Crasselt, Doctor of Philosophy, 2013 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archaeology This dissertation examines the career of Flemish artist Michael Sweerts (1618-1664) in Brussels and Rome, and his place in the development of an academic tradition in the Netherlands in the seventeenth century. Sweerts demonstrated a deep interest in artistic practice, theory and pedagogy over the course of his career, which found remarkable expression in a number of paintings that represent artists learning and practicing their profession. In studios and local neighborhoods, Sweerts depicts artists drawing or painting after antique sculpture and live models, reflecting the coalescence of Northern and Southern attitudes towards the education of artists and the function and meaning of the early modern academy. By shifting the emphasis on Sweerts away from the Bamboccianti – the contemporary group of Dutch and Flemish genre painters who depicted Rome’s everyday subject matter – to a different set of artistic traditions, this dissertation is able to approach the artist from new contextual and theoretical perspectives. It firmly situates Sweerts within the artistic and intellectual contexts of his native Brussels, examining the classicistic traditions and tapestry industry that he encountered as a young, aspiring artist. It positions him and his work in relation to the Italian academic culture he experienced in Rome, as well as investigating his engagement with the work of the Flemish sculptor François Duquesnoy (1597-1643) and the French painter Nicholas Poussin (1594-1665). The breadth of Sweerts’ artistic and academic pursuits ultimately provide significant insight into the ways in which the Netherlandish artistic traditions of naturalism and working from life coalesced with the theoretical and practical aims of the academy.
    [Show full text]
  • Ground Layers in European Painting 1550–1750
    Ground Layers in European Painting 1550–1750 CATS Proceedings, V, 2019 Edited by Anne Haack Christensen, Angela Jager and Joyce H. Townsend GROUND LAYERS IN EUROPEAN PAINTING 1550–1750 GROUND LAYERS IN EUROPEAN PAINTING 1550–1750 CATS Proceedings, V, 2019 Edited by Anne Haack Christensen, Angela Jager and Joyce H. Townsend Archetype Publications www.archetype.co.uk in association with First published 2020 by Archetype Publications Ltd in association with CATS, Copenhagen Archetype Publications Ltd c/o International Academic Projects 1 Birdcage Walk London SW1H 9JJ www.archetype.co.uk © 2020 CATS, Copenhagen The Centre for Art Technological Studies and Conservation (CATS) was made possible by a substantial donation by the Villum Foundation and the Velux Foundation, and is a collabora- tive research venture between the National Gallery of Denmark (SMK), the National Museum of Denmark (NMD) and the School of Conservation (SoC) at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation. ISBN: 978-1-909492-79-0 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The publisher would be pleased to rectify any omissions in future reprints. Front cover illustration: Luca Giordano, The Flight into Egypt, c.1700, oil on canvas, 61.5 × 48.9 cm, The Metropolitan Museum of Art, New York City, inv.
    [Show full text]
  • Trading Paintings and Painters' Materials 1550–1800
    Trading Paintings and Painters’ Materials 1550–1800 CATS Proceedings, IV, 2018 Edited by Anne Haack Christensen and Angela Jager TRADING PAINTINGS AND PAINTERS’ MATERIALS 1550–1800 TRADING PAINTINGS AND PAINTERS’ MATERIALS 1550–1800 CATS Proceedings, IV, 2018 Edited by Anne Haack Christensen and Angela Jager Archetype Publications www.archetype.co.uk in association with First published 2019 by Archetype Publications Ltd in association with CATS, Copenhagen Archetype Publications Ltd c/o International Academic Projects 1 Birdcage Walk London SW1H 9JJ www.archetype.co.uk © 2019 CATS, Copenhagen The Centre for Art Technological Studies and Conservation (CATS) was made possible by a substantial donation by the Villum Foundation and the Velux Foundation, and is a collaborative research venture between the National Gallery of Denmark (SMK), the National Museum of Denmark (NMD) and the School of Conservation (SoC) at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation.. ISBN: 978-1-909492-71-4 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The publisher would be pleased to rectify any omissions in future reprints. Front cover illustration: François Brunel the Younger (attributed to), The Confiscation of the Contents of a Painter’s Studio, c.1590? (photo © Mauritshuis, The Hague).
    [Show full text]
  • Peter Paul Rubens En Atelier Van Peter Paul Rubens
    248593 Peter Paul Rubens en atelier van Peter Paul Rubens Torre de la Parada, 1636-1637 Madrid (prov.), private collection Torre de la [..] Afbeeldingsnummer mr Afmetingen: 710x545 pixels License undetermined Verder zoeken in RKDimages Naam kunstenaar Rubens, Peter Paul Afgekorte literatuur Corpus Rubenianum Ludwig Burchard Collectieplaats Madrid (prov.) Collectie Torre de la Parada Onderwerpstrefwoorden Griekse mythologie Iconclass code 97 Object gegevens Objectcategorie schilderij Fysiek verband Verwijzing bij 'samengestelde kunstwerken': werken die een geheel vormen of vormden, zoals altaarstukken, decoratieve stukken uit een betimmering of werken die bedoeld waren om samen te worden getoond, zoals pendanten en reeksen. Cornelis de Vos, Apollo en Daphne (Ovidius, Metamorfosen, I, 452-552) Cornelis de Vos, Apollo en de python (Ovidius, Metamorfosen, I, 441-444) (part of a decoration scheme) Anoniem, Arachne en Minerva ( Ovidius, Metamorfosen, VI, 129-132) (part of a decoration scheme) Jacob Peter Gouwy, Atalanta en Hippomenes (Ovidius, Metamorfosen, X, 560-680) (part of a decoration scheme) Anoniem, Atlas (part of a decoration scheme) Anoniem, Aurora en Cephalus (Ovidius, Metamorfosen, VII, 700-713) (part of a decoration scheme) Cornelis de Vos, De triomftocht van Bacchus (Ovidius, Metamorfosen, III, 528) (part of a decoration scheme) Erasmus Quellinus (II), Bacchus en Ariadne (Ovidius, Metamorfosen, VIII, 174-182) (part of a decoration scheme) Jacob Jordaens (I), Cadmus zaait drakentanden (Ovidius, Metamorfosen, III, 95-114) Peeter
    [Show full text]