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Uva-DARE (Digital Academic Repository) UvA-DARE (Digital Academic Repository) From the ground up: Surface and sub-surface effects in fifteenth- and sixteenth- century Netherlandish paintings Vandivere, A.L.S. Publication date 2013 Link to publication Citation for published version (APA): Vandivere, A. L. S. (2013). From the ground up: Surface and sub-surface effects in fifteenth- and sixteenth-century Netherlandish paintings. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 BIBLIOGRAPHY - Les Primitifs Flamands. 16 vols. Brussels/Antwerp: Asperen de Boer, J.R.J. van. 1998. “The Development Centre National des Recherches “Primitifs of Infrared Techniques in the Examination of Flamands.” 1951-91. Paintings.” In the proceedings of Unsichtbare Meisterzeichnungen auf dem Malgrund: Cranach Ainsworth, Maryan Wynn. 1987. “Schäufelein as und seine Zeitgenossen, edited by Ingo Sandner, Painter and Graphic Artist in The Visitation.” 27-28 February 1998, De Wartburg te Eisenach, Metropolitan Museum Journal 22: 135-40. 21-27. Regensburg: Schnell und Steiner. Asperen de Boer, J.R.J. van. 1974. “An Examination Asperen de Boer, J.R.J. van. 2003. “Slowly Towards of Particle Size Distribution of Azurite and Improved Infrared Reflectography Equipment.” In Natural Ultramarine in Some Early Netherlandish Recent Developments in the Technical Examination Paintings.” Studies in Conservation 19: 233–43. of Early Netherlandish Painting: Methodology, limitations and perspectives, edited by Molly Asperen de Boer, J.R.J. van. 1979. “A Scientific Faries and Ron Spronk, 57-64. Cambridge and Re-examination of the Ghent Altarpiece.” Oud Turnhout: Brepols. Holland 93(3): 141-214. Asperen de Boer, J.R.J. van, and Arthur K. Wheelock, Asperen de Boer, J.R.J. van. 1986. “A Technical Jr.. 1973. “Underdrawings in Some Paintings by Examination of the Frame of Engebrechtsz’s Cornelis Engebrechtsz.” Oud Holland 87, 2-3: Crucifixion and Some Other 16th-Century 68-85. Frames.” Nederlands Kunsthistorisch Jaarboek 37: 73-88. Asperen de Boer, J.R.J. van, Molly Faries and Jan Piet Filedt Kok. 1986. “Painting Technique and Asperen de Boer, J.R.J. van. 1987. “A Technical Study Workshop Practice in Northern Netherlandish of Some Paintings by Maarten van Heemskerck.” Art of the Sixteenth Century.” In Kunst voor de Color and Technique in Renaissance Painting: Italy Beeldenstorm, edited by Jan Piet Filedt Kok, W. and the north, edited by Marcia B. Hall, 105-114. Halsema-Kubes, and W. Th. Kloek, 106-116. Locust Valley, New York: J. J. Augustin. Amsterdam: Rijksmuseum Amsterdam/ Staatsuitgeverij ’s-Gravenhage. Asperen de Boer, J.R.J. van. 1996. “On the painting technique of the Master of Flémalle panels at Asperen de Boer, J.R.J. van, Jellie Dijkstra and Roger Frankfurt.” In Robert Campin: New Directions van Schoute. 1992. “Underdrawing in Paintings in Scholarship, edited by Susan Foister and Susie of the Rogier van der Weyden and Master of Nash, 21-25. London and Turnhout: Brepols. Flémalle Groups.” Nederlands Kunsthistorisch Jaarboek 41. 161 FROM THE GROUND UP Bagley-Young, Abbie. 2007. “St.-Antonius Billinge, Rachel, Hélène Veroegstraete, Roger Behandeld: Een schilderij van Jan Mandijn Van Schoute. 2000. “The Saint Barbara.” In onderzocht en gerestaureerd.” In Halszaken, Frans Investigating Jan van Eyck, edited by Susan Foister, Hals Museum, 17: 2-4. Sue Jones and Delphine Cool, Museums at the Crossroads (The National Gallery) 6: 41-47. Bagley-Young, Abbie. 2008. “Jan Cornelisz Turnhout: Brepols. Vermeyen’s ‘Cardinal Erard de la Marck’ and ‘Holy Family’: A diptych reunited.” The Burlington Bol, Marjolijn. 2012. Oil and the Translucent: Magazine 1259(150): 76-82. Varnishing and glazing in practice, recipes and historiography, 1100-1600, PhD dissertation, Baldass, Ludwig von. 1943. Hieronymus Bosch, University of Utrecht. Vienna: Anton Schrool & Co. Bomford, David (editor). 2002. Art in the Making: Baum, Katja von, Theresa Neuhoff, Caroline von Underdrawings in Renaissance paintings. London: Saint-George and Iris Schaefer. 2012. “Metal-leaf National Gallery. Applications, Decorative Techniques and Paint: The artistic ‘handwriting’ from the technological Bomford, David, Jill Dunkerton, Dillian Gordon, point of view.” Zeitschrift für Kunsttechnologie und Ashok Roy. 1989. Art in the Making: Italian Konservierung 26 (1): 268-274. painting before 1400. London: National Gallery. Beaumont, M.A., L. Reis-Santos, H. Pawels, F. Brinkman, Pim. 1993. Het Geheim van Van Eyck: Baudoin, M.F. Viana and L.M. Picciochi Alves. Aantekeningen bij de uitvinding van het olieverven. 1981. S. Lucas retratando a Virgem: pintura. Zwolle: Waanders. Lisbon: Museu Nacional de Arte Antiga. Brinkman, Pim W.F., Leopold Kockaert, Luc Maes, Berg, Klaas Jan van den, Margriet H. van Eikema Liliane Masschelein-Kleiner, Francis Robaszynski Hommes, Karin M. Groen, Jaap J. Boon and Evert Thielen. 1984. “Het Lam Godsretabel van Barbara H. Berrie. 2000. “On Copper Green van Eyck: Een heronderzoek naar de materialen Glazes in Paintings.” In Art et Chimie, la Couleur: en schildermethoden: 1. De plamuur, de Actes du congrès, edited by Jacques Goupy and isolatielaag, de tekening en de grondtonen.” Jean-Pierre Mohen, 18-21. Paris: CNRS Editions. Bulletin Institut Royal Du Patrimoine Artistique / Koninklijk Instituut Voor Het Kunstpatrimonium Billinge, Rachel, Lorne Campbell, Jill Dunkerton, 20: 137-166. Susan Foister, Jo Kirby, Jennie Pilc, Ashok Roy, Marika Spring and Raymond White. 1997. Brinkman, Pim W.F., Leopold Kockaert, Luc Maes, “Methods and Materials of Northern European Evert Thielen and Jan Wouters. 1988. “Het Lam Painting in the National Gallery, 1400-1550.” Godsretabel van van Eyck. Een heronderzoek National Gallery Technical Bulletin 18: 6-55. naar de materialen en schildermethoden, 2. De hoofdkleuren blauw, groen, geel en rood.” Billinge, Rachel, Lorne Campbell, Jill Dunkerton, Bulletin Institut Royal Du Patrimoine Artistique / Susan Foister, Jo Kirby, Jennie Pilc, Ashok Roy, Koninklijk Instituut Voor Het Kunstpatrimonium Marika Spring and Raymond White. 1997. 22, 26-50. “A Double-Sided Panel by Stephan Lochner.” National Gallery Technical Bulletin, 18: 56-67. Bruyn, Eric de. 2001. De Vergeten Beeldentaal van Jheronimus Bosch: De symboliek van Billinge, Rachel, Lorne Campbell, Jill Dunkerton, de Hooiwagen-triptek en de Rotterdamse Susan Foister, Jo Kirby, Jennie Pilc, Ashok Roy, Marskramer-tondo verklaard vanuit Marika Spring and Raymond White. 1997. “Five middelnederlandse teksten, s’Hertogenbosch: Adr. Paintings by Rogier van der Weyden and his Heinen Uitgevers/ABC. Workshop.” National Gallery Technical Bulletin 18: 68-86. Bruyn, J. 1960. “Twee St. Antonius-panelen en andere werken van Aertgen van Leyden.” Nederlands Kunsthistorisch Jaarboek 11: 36–119. 162 BIBLIOGRAPHY Campbell, Lorne. 1976. “The Art Market in the Clarke, Mark and Abbie Vandivere. 2011. “‘Purpura’ Southern Netherlands in the Fifteenth Century.” and Proto-changeant: The earliest representations Burlington Magazine 118: 188-198. of shot-silk fabrics.” In ICOM-CC 16th Triennial Conference Preprints, Art Technological Campbell, Lorne. 1981. “The Early Netherlandish Source Research working group, Lisbon, 19-23 Painters and their Workshops.” In Le dessin September 2011, edited by J. Bridgland, Lisbon: sous-jacent dans la peinture: Colloque III, Le Critério - Artes Gráficas, Lda. problème Maître de Flémalle-van der Weyden, 6-8 September 1979, Leuven, edited by Hélène Colenbrander, Sjoukje. 2010. Zolang de Weefkunst Veroegstraete and Roger Van Schoute, 43-61. Bloeit: Zijdeweverijen in Amsterdam en Haarlem, Leuven: Université Catholique de Louvain, 1585-1750. PhD dissertation, University of Institut supérieur d’Archéologie et d’Histoire de Amsterdam. l’art. Coremans, Paul and Paul Philippot. 1953. L’Ag n e a u Campbell, Lorne. 1996. “Campin’s Portraits.” In Mystique au Laboratoire: Examen et traitement, Robert Campin: New directions in scholarship, Les Primitifs Flamands: III. Contributions a l’etude edited by Susan Foister and Susie Nash, 123-135. des Primitifs Flamands. Antwerp: De Sikkel. Brussels: Brepols. Coremans, Paul. 1954. “La technique des ‘Primitifs Campbell, Lorne. 1998. National Gallery Catalogues: flamands’: Etude scientifique des materiaux, de The fifteenth century Netherlandish schools. la structure et de la technique picturale. III. Van London: National Gallery. Eyck: l’Adoration de l’Agneau Mystique (Gand: Cathedrale Saint-Bavon).” Studies in Conservation Campbell, Lorne. 1999. “Bosch Christ Mocked 1(3): 45-161. (The crowning with Thorns).” Le Dessin Sous- jacent et la Technologie dans la Peinture: Colloque Coremans, P., R.J. Gettens, and J. Thissen. 1952. “La XII, La peinture dans les Pays-Bas
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