Synopses & Reviews
An encyclopedic reference developed in collaboration with the National Gallery of Art, the Artists' Pigments series combines two aspects of the study of pigments--the history of individual pigments and dyes and scientific methods for identifying and characterizing artists' colorants--rarely brought together in one publication. Volume 2 contains extensive studies of nine pigments including azurite and blue verditer, ultramarine blue, lead white, lead-tin yellow, smalt, verdigris and copper resinate, vermilion and cinnabar, malachite and green verditer, and calcium carbonate whites. These essays, which originally appeared in Studies in Conservation, have been substantially revised and brought up to date. With at least two more volumes planned, this ground-breaking series is of compelling interest to the practicing artist, art historian, conservation scientist and conservator, and connoisseur.
Review
"The quantity of useful information contained in the two hundred or so pages of [this book] is really quite staggering and it must represent a fairly essential purchase for any institution or individual with more than a passing interest in the history, use and identification of pigments."--Studies in Conservation
Synopsis
An encyclopedic reference developed in collaboration with the National Gallery of Art, the Artists' Pigments series combines two aspects of the study of pigments--the history of individual pigments and dyes and scientific methods for identifying and characterizing artists' colorants--rarely brought together in one publication. Volume 2 contains extensive studies of nine pigments including azurite and blue verditer, ultramarine blue, lead white, lead-tin yellow, smalt, verdigris and copper resinate, vermilion and cinnabar, malachite and green verditer, and calcium carbonate whites. These essays, which originally appeared in Studies in Conservation, have been substantially revised and brought up to date. With at least two more volumes planned, this ground-breaking series is of compelling interest to the practicing artist, art historian, conservation scientist and conservator, and connoisseur.
Table of Contents