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Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
This New York Times bestselling book is filled with hundreds of fun, deceptively simple, budget-friendly ideas for sprucing up your home. With two home renovations under their (tool) belts and millions of hits per month on their blog YoungHouseLove.com, Sherry and John Petersik are home-improvement enthusiasts primed to pass on a slew of projects, tricks, and techniques to do-it-yourselfers of all levels. Packed with 243 tips and ideas—both classic and unexpected—and more than 400 photographs and illustrations, this is a book that readers will return to again and again for the creative projects and easy-to-follow instructions in the relatable voice the Petersiks are known for. Learn to trick out a thrift-store mirror, spice up plain old roller shades, "hack" your Ikea table to create three distinct looks, and so much more.
The Getty Museum's collection of drawings was begun in 1981 with the purchase of a Rembrandt nude and has since become an important repository of European works from the fifteenth through the nineteenth century. As in the first volume devoted to the collection (published in 1988 in English and Italian editions), the text is here organized first by national school, then alphabetically by artist, with individual works arranged chronologically. For each drawing, the authors provide a discussion of the work's style, dating, iconography, and relationship to other works, as well as provenance and a complete bibliography.
Discusses the elements of a sign, and looks at pictograms, alphabets, calligraphy, monograms, text type, numerical signs, symbols, and trademarks.
The function of the painted wooden object ranges from the practical to the profound. These objects may perform utilitarian tasks, convey artistic whimsy, connote noble aspirations, and embody the highest spiritual expressions. This volume, illustrated in color throughout, presents the proceedings of a conference organized by the Wooden Artifacts Group of the American Institute for Conservation of Historic and Artistic Works (AIC) and held in November 1994 at the Colonial Williamsburg Foundation in Williamsburg, Virginia. The book includes 40 articles that explore the history and conservation of a wide range of painted wooden objects, from polychrome sculpture and altarpieces to carousel horses, tobacconist figures, Native American totems, Victorian garden furniture, French cabinets, architectural elements, and horse-drawn carriages. Contributors include Ian C. Bristow, an architect and historic-building consultant in London; Myriam Serck-Dewaide, head of the Sculpture Workshop, Institut Royal du Patrimoine Artistique, Brussels; and Frances Gruber Safford, associate curator of American decorative arts at the Metropolitan Museum of Art in New York. A broad range of professionals—including art historians, curators, scientists, and conservators—will be interested in this volume and in the multidisciplinary nature of its articles.
This volume presents the proceedings of an international symposium organized by the Getty Conservation Institute and the J. Paul Getty Museum. The first conference of its kind in twenty years, the symposium assembled an international group of conservators of painted panels, and gave them the opportunity to discuss their philosophies and share their work methods. Illustrated in color throughout, this volume presents thirty-one papers grouped into four topic areas: Wood Science and Technology, History of Panel-Manufacturing Techniques, History of the Structural Conservation of Panel Paintings, and Current Approaches to the Structural Conservation of Panel Paintings.
This highly illustrated 1868 work on interior design gives a fascinating insight into the late Victorian taste for the medieval.