Synopses & Reviews
Volume 36 completes the study begun with Volume 34 (in 2013) of the painting materials and technique of the most influential artist of the 16th century, by the National Gallery, a global center for research into Venetian painting. An introduction addresses the consistencies and variations in Titianandrsquo;s practice, including the use of new materials such as the blue pigment smalt. Entries cover eight key works dating from 1540, and a final essay discusses the conservation history of
Diana and Actaeon and
Diana and Callisto, the two great mythological paintings recently acquired by the National Gallery and the National Galleries of Scotland.
Synopsis
The acclaimed National Gallery Technical Bulletin features contributions by curators, scientists, and conservators, on materials and techniques of painting, and the scientific examination of paintings. Volume 33 presents new findings on the use of colorless powdered glass in 15th- and 16th-century European paintings; the conservation and restoration of Niccoland#242; di Pietro Gerini's Baptism Altarpiece; an examination of Renoir's The Umbrellas; the techniques of Adolphe Monticelli; and a comprehensive study of Vuillard's La Terrasse and#224; Vasouy.
Synopsis
A comprehensive and authoritative conservation survey of painting techniques of one of the most influential artists of 16th-century Italy.
About the Author
Ashok Roy is director of collections,
Jill Dunkerton is senior restorer in the conservation department, and
Marika Spring is head of science, all at the National Gallery, London.
Helen Howard,
Gabriella Macaro,
Rachel Morrison,
David Peggie and
Nelly von Aderkas are members of the scientific department, and
Rachel Billinge is a member of the conservation department, all at the National Gallery, London.
Jacqueline Ridge is keeper of conservation and
Lesley Stevenson is senior paintings conservator, both at National Galleries of Scotland.and#160;