quarta-feira, 5 de novembro de 2008

Sobre as preparações dos suportes de pintura

Foi há pouco publicado o seguinte livro:

Joyce H. Townsend, Tiarna Doherty, Gunnar Heydenreich, Jacqueline Ridge (ed.), Preparation for Painting. The Artist's Choice and its Consequences, London, Archetype, 2008.


  • Jilleen Nadolny, European Documentary Sources Before c.1550 Relating to Painting Grounds Applied to Wooden Supports: translation and terminology, pp. 1-13
  • Lynne Harrison, Robin Cormack, Caroline Cartwright, Janet Ambers, An Icon of St. George: preparation for a portrait of a saint, pp. 14-21
  • Erling Skaug, Not Just Panel and Ground, pp. 22-29
  • Gunnar Heydenreich, The Colour of Canvas: historical practices for bleaching artists' linen, pp. 30-41
  • Jaap J. Boon, Jerre van der Horst, Remarkably Improved Spatial Resolution in Scanning Electron Microscope Images of Paint Cross-sections After Argon Ion Polishing, pp. 42-49
  • Ester S.B. Ferreira, Rachel Morrison, Jaap J. Boon, Imaging Chemical Characterisation of Preparatory Layers in Fifteenth and Sixteenth-century Northern European Panel Paintings, pp. 50-58
  • Elisabeth Martin, Grounds on Canvas 1600-1640 in Various European Artistic Centres, pp. 59-67
  • Petria Noble, Annelies van Loon, Jaap Boon, Selective Darkening of Ground Layers Associated with the Wood Structure in Seventeenth-century Panel Paintings, pp. 68-78
  • Maartje Witlox, Tiarna Doherty, Barbara Schoonhoven, Reconstructing Seventeenth-century Streaky Imprimatura Layers used on Panel Paintings, pp. 79-91
  • Sara De Bernardis, Not Preparation but Impregnation: transparent paintings of the late eighteenth century painted by Giovan Battista Bagutti (1742-1823), pp. 92-99
  • Inken Maria Holubec, 'The Whole World is Angelikamad': preparatory layers on canvas used by Angelika Kauffmann, pp. 100-109
  • Sarah Morgan, Joyce H. Townsend, Stephen Hackney, Roy Perry, Canvas and its Preparation in Early Twentieth-century British Paintings, pp. 110-122
  • Leslie Carlyle, Jaap J. Boon, Ralph Haswell, Maartje Stols-Witlox, Historically Accurate Ground Reconstructions for Oil Paint, pp. 123-131
  • Leslie Carlyle, Christina Young, Suzanne Jardine, The Mechanical Response of Flour Paste Grounds, pp. 132-140
  • Kathrine Segel, Mikkel Scharff, Flocked Canvases: a special fabric for pastel paintings, pp. 141-146
  • Nicole Tse, Robyn Sloggett, Southeast Asian Oil Paintings: supports and preparatory layers, pp. 147-155
  • Bronwyn A. Ormsby, Eric Hagan, Patricia Smithen, Thomas J. S. Learner, Comparing Current Titanium White Acrylic Emulsion Grounds and Paints: characterisation, properties and conservation, pp. 156-162
  • Christina Young, Eric Hagan, Effects of Cold Temperatures on Modern Paints used for Priming Flexible Supports, pp. 163-171
  • Pauline Hélou-de la Grandière, Anne-Solenn Le Hô, François Mirambet, Delaminating Paint Films at the end of 1950s: a case study on Pierre Soulages, pp. 172-179
  • L. Fuster-Lopez, M F. Mecklenburg, M. Castell-Agusti, V Guerola Blay, Filling Materials for Easel Paintings: when the ground reintegration becomes a structural concern, pp. 180-186