Estudo da pintura antiga

Foi há pouco publicado o seguinte livro, que recolhe os textos das comunicações apresentadas no colóquio comemorativo do 30º aniversário do National Gallery Technical Bulletin, realizado em 2009.

Marika Spring (ed.), Studying Old Master Paintings. Technology and Practice, London, Archetype Publications, 2011.

Índice:

• Marco Ciatti, Roberto Bellucci, Camilla Fracassi, Cecilia Frosinini, Carlo Lalli, Linda Lucarelli, Luciano Sostegni, The 'Paliotto' by Guido da Siena from the Pinacoteca Nazionale, Siena, pp. 1-7

• Yvonne Szafran, Carole Namowicz, Catherine Schmidt Patterson, Christine Sciacca, Karen Trentelman, Nancy Turner, Painting on parchment and panel: an exploration of Pacino di Bonaguida's technique, pp. 8-14

• Fabrizio Bandini, Alberto Felici, Cecilia Frosinini, Mariarosa Lanfranchi, Paola Ilaria Mariotti, Technical similarities between mural painting and panel painting by Giovanni da Milano: Guidalotti-Rinuccini chapel, Santa Croce, Florence, pp. 15-20

• Carol Christensen, Suzanne Quillen Lomax, Michael Palmer, Steve Wilcox, Neroccio's Virgin and Child with Saint Anthony Abbott and Saint Sigismund at the National Gallery of Art, Washington, DC, pp. 21-27

• Gianluca Poldi, Giovanni Carlo Federico Villa, A new examination of Giovanni Bellini's 'Pesaro Altarpiece': recent findings and comparisons with other works by Bellini, pp. 28-36

• Michel Menu, Estelle Itié, Élisabeth Ravaud, Myriam Eveno, Elsa Lambert, Eric Laval, Ina Reiche, Rocco Mazzeo, Maria Letizia Amadori, Irene Bonacini, Edith Joseph, Silvia Prati, Giorgia Sciutto, Examination of the Uomini Illustri: looking for the origins of the portraits in the Studiolo of the Ducal Palace of Urbino. Part I, pp. 37-43

• Rocco Mazzeo, Michel Menu, Maria Letizia Amadori, Irene Bonacini, Estelle Itié, Myriam Eveno, Edith Joseph, Elsa Lambert, Eric Laval, Silvia Prati, Élisabeth Ravaud, Giorgia Sciutto, Examination of the Uomini Illustri: looking for the origins of the portraits in the Studiolo of the Ducal Palace of Urbino. Part II, pp. 44-51

• Ezio Buzzegoli, Roberto Bellucci, Michelangelo's 'Doni Tondo' investigated with non-invasive analytical techniques, pp. 52-58

• Charlotte Hale, Julie Arslanoglu, Silvia A. Centeno, Granacci in The Metropolitan Museum of Art: aspects of evolving workshop practice, pp. 59-64

• Bruno Mottin, Leonardo da Vinci's The Virgin and Child with Saint Anne (Musée du Louvre, Paris): new infrared reflectography, pp. 65-71

• Larry Keith, Ashok Roy, Rachel Morrison, Leonardo da Vinci's Virgin of the Rocks: technique and the context of restoration, pp. 72-79

• Claire Barry, Observations on workshop practice in fifteenth-century Castile: the altarpiece from the cathedral at Ciudad Rodrigo by Fernando Gallego and his workshop, pp. 80-88

• Stephanie Dietz, Henning Autzen, Ursula Baumer, Patrick Dietemann, Irene Fiedler, Christoph Krekel, Anna Schönemann, Amelie Stange, Studying the 'Graue Passion' by Hans Holbein the Elder, pp. 89-94

• Mark Leonard, Carole Namowicz, Anne Woollett, Albrecht Altdorfer's Crucifixion (Museum of Fine Arts, Budapest), pp. 95-103

• Esther van Duijn, Jan Piet Filedt Kok, Abbie Vandivere, Arie Wallert, Margreet Wolters, Developments in the underdrawing and painting technique of the sixteenth-century Leiden School, in particular the workshops of Cornelis Engebrechtsz and Lucas van Leyden, pp. 104-110

• Friso Lammertse, Arie Wallert, Margreet Wolters, In search of the right colour: colour notations in a late sixteenth-century Dutch painting, pp. 111-117

• Roberto Bellucci, Cecilia Frosinini, Luca Pezzati, Caravaggio's underdrawing: a 'Quest for the Grail'?, pp. 118-124

• Cynthia Kuniej Berry, Francesca Casadio, Inge Fiedler, Richard Mann, Ana Sánchez-Lassa, José Luis Gorospe, Multiplicity, authorship and chronology: an integrated evaluation of four images of Saint Francis by El Greco, pp. 125-135

• Hélène Dubois, Pascale Fraiture, Between creativity and economy: remarks on the quality of Rubens' panel supports. A study of paintings in the Royal Museums of Fine Arts of Belgium, pp. 136-142

• Andreas Burmester, Nina Schleif, Melanie Eibl, Travels with Rubens' Last Judgement, pp. 143-149

• Anne Haack Christensen, The painting techniques of the Rosenborg Series 1618-1624 and painting materials supplied to the Danish court painters at the time of King Christian IV, pp. 150-156

• Margriet van Eikema Hommes, Lidwien Speleers, Nine Muses in the Oranjezaal: the painting methods of Caesar van Everdingen and Jan Lievens confronted, pp. 157-164

• E. Melanie Gifford, Material as metaphor: non-conscious thinking in seventeenth-century painting practice, pp. 165-172

• Hayley Tomlinson, Helen Howard, David Peggie, Paul Ackroyd, Dawson Carr, Murillo's Christ Healing the Paralytic at the Pool of Bethesda: an introduction to the artist's late painting technique, pp. 173-179

• Arie Wallert, Willem de Ridder, About skin: technical examination of paintings by Adriaen van der Werff, pp. 180-185

• David Saunders, Antony Griffiths, Two 'mechanical' oil paintings after de Loutherbourg: history and technique, pp. 186-193

• Rica Jones, Joyce H. Townsend, Elizabeth Einberg, Hugh Belsey, A lost early conversation piece by Thomas Gainsborough, pp. 194-200

• Helen Brett, Joyce H. Townsend, Rica Jones, Jaap Boon, Katrien Keune, 'I can see no vermilion in flesh': Sir Joshua Reynolds' portraits of Francis Beckford and Suzanna Beckford, 1755-1756, pp. 201-208

• Mark Aronson, Helen A. Cooper, Angus Trumble, Benjamin West and the Venetian Secret, pp. 209-215

• Jørgen Wadum, Kasper Monrad, Mikkel Scharff, Aspects of Christen Købke's painting technique: from drawing via oil sketch to the final painting, pp. 216-221

• Jane Munro, Marie Louise Sauerberg, Action speaks louder than words: Thomas Couture as a teacher, pp. 222-228

• Erma Hermens, Arie Wallert, James McNeill Whistler: fluidity, finish and experiment, pp. 229-236

• Ella Hendriks, Leo Jansen, Johanna Salvant, Élisabeth Ravaud, Myriam Eveno, Michel Menu, Inge Fiedler, Muriel Geldof, Luc Megens, Maarten van Bommel, C. Richard Johnson Jr, Don. H. Johnson, A comparative study of Vincent van Gogh's Bedroom series, pp. 23-243

• Unn Plahter, Biljana Topalova-Casadiego, The Scream by Edvard Munch: painting techniques and colouring materials, pp. 244-252

• Raffaella Bruzzone, Maria Clelia Galassi, Wood species in Italian panel paintings of the fifteenth and sixteenth centuries: historical investigation and microscopical wood identification, pp. 253-259

• Annelies van Loon, Lidwien Speleers, The use of blue and green verditer in green colours in the mid-seventeenth-century paintings of the Oranjezaal, The Hague, pp. 260-268

• Günter Grundmann, Natalia Ivleva, Mark Richter, Heike Stege, Christoph Haisch, The rediscovery of sublimed arsenic sulphide pigments in painting and polychromy: applications of Raman microspectroscopy, pp. 269-276

• Stefanos Kroustallis, Rocio Bruquetas, Marisa Gómez, In quest of vermilion: production, commerce and use of the pigment in eighteenth-century Spain, pp. 277-283

• Maartje Stols-Witlox, 'The heaviest and the whitest': lead white quality in north western European documentary sources, 1400-1900, pp. 284-294

• Barbara Berrie, Louisa Matthew, Lead white from Venice: a whiter shade of pale?, pp. 295-301