As fontes e os métodos da história técnica da arte

Foi há pouco publicado o seguinte volume:

Stefanos Kroustallis; Joyce H. Townsend; Elena Cenalmor Bruquetas; Ad Stijnman; Margarita San Andres Moya (ed.), Art Technology - Sources and Methods, London, Archetype Publications, 2008.

Corresponde às actas do 2.º simpósio organizado pelo grupo Art Technological Source Research em Madrid em 2006.

Índice:

• Ad Stijnman, Materials for art technological source research: theoretical issues, pp. 1-6

• Jo Kirby, Towards a new discipline?, pp. 7-15

• Mark Clarke, Asymptotically approaching the past: historiography and critical uses of sources in art technological source research, pp. 16-22

• Stefanos Kroustallis, Reading the past: methodological considerations for future research in art technology, pp. 23-27

• Corinna Gramatke, Las dificultades especificas de la terminología: a propósito de la traducción comentada al alemán de los capítulos sobre las técnicas pictóricas de tres tratados barrocos españoles, pp. 28-34

• Stefanos Kroustallis, Los recetarios medievales de tecnologia artistica, pp. 35-41

• Gabriela Siracusano, Llaves y secretos para el estudio de los materiales del color, pp. 42-47

• Elena Cenalmor Bruquetas, La revista como fuente de información para la tecnología artística: Carlos de Haes y su artículo 'Dibujo al carbon (aplicado al paisaje)', pp. 48-54

• Rocío Bruquetas Galán, La obtencion de pigmentos azules para las obras de Filipe II: comercio europeo y americano, pp. 55-63

• Margarita San Andrés Moya, Silvia Garcia Fernández-Villa, Patents as a source of documentation for studying artistic technology, pp. 64-74

• Mark Clarke, Nineteenth-century English artists' colourmen's archives as a source of technical information, pp. 75-84

• Carlos Nodal Monar, Ana Calvo Manuel, Las técnicas de policromía barroca del noroeste de Portugal en los contratos y los tratados pictóricos, pp. 85-87

• José Luis Regidor Ros, Eric Rojas Márquez, Juan Valcárcel Andrés, El retoque a seco: evolución a través de la historia de la pintura mural al fresco, pp. 88-91

• Arie Wallert, Seventeenth-century machines for drawing celestial spheres, pp. 92-98

• Carmina Admella Baulíes, Benoít V. de Tapol, Núria Pedragosa García, La mesa de trabajo de Fortuny, pp. 99-107

• Silvia Garcia Fernandez-Villa, Enric Juncosa Darder, The painter's studio as a documentary source: a study of the final decades of Joan Miró, pp. 108-110

• Eva Lopez Zamora, Consuelo Dalmau Moliner, Marks engraved on gilded surfaces of paintings on wood: types and methodology, pp. 111-113

• Jorge Garcia Gomez-Tejedor, New technologies: new protocols, pp. 114-118

• Joaquin Barrio Martin, Islamic gilding technology: written sources and scientific analyses, pp. 119-126

• Ana Lopez-Montes, Rosario Blanc Garcia, Teresa Espejo Arias, Jose Luis Vilchez Quero, Analyses of dyes in the map collection of the Real Chancilleria of Granada, pp. 127-135

• Cecilia Ronnerstam, Analysis of pigments for miniatures, pp. 136-137

• Cristina Aibeo, Emilio Mario Castellucci, Mauro Matteini, Barbara Sacchi, Angela Zoppi, Cristiana Lofrumento, A micro-Raman spectroscopy study of the formation of lead dioxide from lead white, pp. 138-140

• Renata Garcia-Moreno, Nicolas Thomas, Cinnabar or vermilion?, pp. 141-143

• Nuno Filipe Camarneiro Mendes, Emilio Mario Castellucci, Cristiana Lofrumento, Angela Zoppi, Pier Andrea Mando, Novella Grassi, Identification of pigments in a 17th-century coloured map using micro-Raman spectroscopy and PIXE, pp. 144-146

• Maartje Stols-Witlox, Sizing layers for oil painting in westem European sources (1500-1900): historical recipes and reconstructions, pp. 147-165

• Renate Woudhuysen-Keller, Reconstruction of tempera painting techniques: some examples, including gesso sottile, pp. 166-173

• Margarita San Andres Moya, Jose Manuel de la Roja, Natalia Sancho Cubino, Sonia Santos Gomez, Characterisation of purified verdigris obtained according to Recipe 101 of the Manoscritto Bolognese, pp. 174-177

• Sonia Santos Gomez, Margarita San Andres Moya, Alfonso Rodriguez, Reconstruction of documented preparation methods for gesso grosso and gesso sottile in Spanish School panel paintings, pp. 178-181

• Renata Garcia-Moreno, Ariadna Cervera, Javier Vazquez, Cochineal use in pre-Columbian paintings, pp. 182-183