quarta-feira, 23 de maio de 2012

Os processos dos artistas – tecnologia e interpretação

Foi há pouco publicado o seguinte volume, que contém as comunicações apresentadas no 4.º encontro do grupo Art Technological Source Research (ATSR), do ICOM-CC, que decorreu em Viena em 2010:

Sigrid Eyb-Green, Joyce H. Townsend, Mark Clarke, Jilleen Nadolny, Stephanos Kroustallis (ed.), The Artist's Process. Technology and Interpretation, London, Archetype Publications, 2012.

  • Nicholas Eastaugh, From source to chronology: studies on macro-scale behaviour in art technology, pp. 1-9
  • Timea Tallian, Living sources: experts, masters and practitioners, pp. 10-17
  • Ad Stijnman, Some thoughts on realia: material sources for art technological source research, pp. 18-20
  • Rocio Bruquetas, Stefanos Kroustallis, Judging art: lawsuits involving the painter and sculptor Alonso Berruguete as sources for art technology, pp. 21-26
  • Mark Clarke, Reworking and reuse: adaptation and use in workshop texts, pp. 27-31
  • Ad Stijnman, A short-title bibliography of the Secreti by Alessio Piemontese, pp. 32-47
  • Doris Oltrogge, Theophilus: a methodological approach to reading an art technological source, pp. 48-53
  • Mark Clarke, A unique 12th-century illuminator's treatise: an original composition incorporated in the Brussels Compendium artis picturae, pp. 54-59
  • Catarina Miguel, Adelaide Miranda, Marisa Oliveira, Maria João Melo, Mark Clarke, 'The book on how one makes colours of all shades in order to illuminate books' revisited, pp. 60-66
  • Sabine Formánek, A glimpse of the Renaissance: colours and geometrical patterns on a southern German game board of the late 16th century, pp. 67-71
  • Tamar Davidowitz, Tonny Beentjes, Joosje van Bennekom, Sara Creange, Identifying 16th-century paints on silver using a contemporary manuscript, pp. 72-78
  • Christoph Krekel, Helena Fuertes, Saffron for purity: raw materials for the production of coloured glazes in 16th-century German recipes, pp. 79-83
  • Manfred Koller, An unknown art technological source for Austrian Baroque art: the diaries of Abbot Hieronymus Übelbacher of Dürnstein for 1710-40, pp. 84-89
  • Agnès Le Gac, Ana Isabel Seruya, Jean Bleton, Sung Voduy, José Carlos Frade, Raised decorations applied to Baroque polychrome sculpture in Coimbra, Portugal: the production of painter-gilders or sculptors?, pp. 90-111
  • Maartje Stols-Witlox, Luc Megens, Leslie Carlyle, 'To prepare white excellent...': reconstructions investigating the influence of washing, grinding and decanting of stack-process lead white on pigment composition and particle size, pp. 112-129
  • Arie Wallert, De Groote Waereld in't Kleen Geschildert (The Big World Painted Small)-, a Dutch 17th-century treatise on oil painting technique, pp. 130-137
  • Rocio Bruquetas, Sources for the study of pigments used by Goya and other 18th-century Spanish painters, pp. 138-146
  • Idelette van Leeuwen, Arie Wallert, Cecile Gombaud, Joana Pedroso, Instructions on the making of pastel crayons and their use in pastel painting: a manuscript in the Rijksmuseum, Amsterdam, pp. 147-157
  • Kathrin Kinseher, Ernst Berger and the late 19th-century Munich controversy over painting materials, pp. 158-166
  • Agathi Anthoula Kaminari, Athina Alexopoulou, Penelope Banou, Philip Miller Tate, Eileen M. Buckley-Dhoot, Reconstruction and imaging of copy press samples, pp. 167-171
  • Hartmut Kutzke, Biljana Topalova-Casadiego, Exploring an artist's practice: Edvard Munch's paint tubes, pp. 172-175
  • Devi Ormond, Teio Meedendorp, Muriel Geldof, Luc Megens, Kathrin Pilz, Interpreting Van Gogh's plein air painting practice: written sources versus painted image, pp. 176-183
  • Albrecht Pohlmann, Bernsteinlack, Vernis Vibert and Weimarweiss: the letters of Lyonel Feininger (1871-1956) as a key source for his painting technique, pp. 184-190
  • Rosa M. Gasol, A virtual colour reconstruction project for Romanesque wall painting in Sixena, Spain, pp. 191-192
  • Markus Santner, Wolfgang Baatz, Renata Burszan, Jörg Riedel, The painting process in the Bishop's Chapel in Gurk, Carinthia (Austria), pp. 193-194
  • Abbie Vandivere, In search of van Mander's primuersel: coloured intermediate layers in early 16th-century Netherlandish paintings, pp. 198-199
  • Ingalill Nyström, An approach to the analysis of Swedish painted wall hangings (1700-1870), p. 202
  • Borries Brakebusch, J.W. Schirmer's 19th-century use of grisaille underpainting, pp. 203-204
  • Silvia Garcia Fernández-Villa, Margarita San Andrés Moya, Selina Blasco, Industrial development of plastics and 20th-century art: new synergies, pp. 205-206
  • Joana Lia Ferreira, Maria João Melo, Ana Maria Ramos, Sabu colours: vinyl artists' paints from the 1960s, p. 207
  • Suvi Leukumaavaara, Seppo Hornytzkyj, Ole Kandelin's painting processes and materials, pp. 208-209
  • Anna Nualart Torroja, M. José González Madrid, Marina Mascarella Vilageliu, Marta Oriola Folch, Restoring Francesc Artigau's paintings from 1966, pp. 210-211
  • Mark Clarke, Ad Stijnman, Around Theophilus: an expert meeting towards new standards in Theophilus scholarship, pp. 215-217