Synopses & Reviews
Titian (active 1506; died 1576) is acclaimed as the greatest of the Venetian masters. His technique has long fascinated painters and collectors, and his use of oil paints and the richly colored pigments available to him in Venice influenced the subsequent history of European painting. The National Gallery, London, is home to an outstanding group of Titianand#8217;s paintings, and this special edition of its annual Technical Bulletin is dedicated to the study of the artist during the first part of his career. An introductory essay focuses on Titianand#8217;s painting technique, from its origins in the workshops of Venice and the Veneto, through close examination of nine works in the galleryand#8217;s collection, including the stunning Bacchus and Ariadne (1520and#150;23). The authors also discuss significant early works from other collections, such as The Triumph of Love (about 1544and#150;6). New research and discoveries, published here for the first time, will be essential reading for Titian scholars and enthusiasts alike.
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
Published to accompany the highly anticipated exhibition Leonardo da Vinci: Painter at the Court of Milan at the National Gallery, London, this extended volume of the Technical Bulletin documents new research undertaken on the life and work of Leonardo. It includes an analysis of his time in Verrocchio's workshop, where he adopted the new technique of oil painting; an article on the recent conservation and redisplay of the London version of The Virgin of the Rocks; and examples of Leonardo's painting practice and influence while he was court painter to the Duke of Milan, Ludovico Sforza.
Synopsis
This absorbing study approaches the paintings of Sir Joshua Reynolds with a fresh eye, examining his materials and manner of painting from a unique conservation and technical perspective.
Synopsis
This volume is dedicated to the study of the techniques and materials used by British painter Sir Joshua Reynolds (1723andndash;1792). Some of Reynoldsandrsquo;s pictures contain notoriously unstable paint mixes, prone to serious color deterioration or surface crackingandmdash;sometimes evident even in the artistandrsquo;s lifetime. The authors examine the supports and the media that he employed, shedding light on what rendered the finished results so unpredictable. Three essays and 16 case studies analyze works in the National Gallery, London, and the Wallace Collection. This Technical Bulletin is the result of a multidisciplinary research collaboration between the National Gallery and the Wallace Collection and is unmatched by other resources on Reynolds. and#160;
Synopsis
A comprehensive and authoritative conservation survey of painting techniques of one of the most influential artists of 16th-century Italy.
Synopsis
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.
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;