The Artist’s Process

This volume, the proceedings of the fourth Art Technological Source Research (ATSR) symposium, explores the artistic process through both artworks and diverse historical sources. Covering artists from the Baroque to the early 20th century-including Van Gogh, Munch, Goya, and Jamnitzer-the papers examine materials, techniques, and evolving practices. Topics range from non-traditional oils to underexplored sources such as lawsuits and diaries. Fresh insights are offered into the development and documentation of artistic innovation across time and media.

The overall theme of this volume is the artistic process as manifested in the artwork itself and as documented in visual and written sources. While many of the papers look at the work of 19th and early 20th century painters, other topics include Baroque decoration, the controversy about paints in Germany in the early 20th century, and non-traditional oils in artists’ oil paints. The many editions of Theophilus’ Schedula diversarum arcium and Alessio Piemontese’s Secreti are listed and discussed. A number of sources that have previously received relatively little attention from scholars of art technology are considered, such as lawsuits, realia, diaries, and the use of modelling techniques from other fields that could be usefully applied to source research to give a clearer picture of the actual trends of development and use of new materials and technologies. The artists whose works are examined include: Alonso Berruguete; Pedro Cabrita Reis; Goya; van Mander; the goldsmith Wenzel Jamnitzer; the pastel painter Rienk Jelgerhuis; Van Gogh; Edvard Munch and Lyonal Feininger. Proceedings of the fourth symposium of the Art Technological Source Research Working Group.

Foreword

Acknowledgements

From source to chronology: studies on macro-scale behaviour in art technology

Nicholas Eastaugh

Living sources: experts, masters and practitioners

Timea Tallian

Some thoughts on realia: material sources for art technological source research

Ad Stijnman

Judging art: lawsuits involving the painter and sculptor Alonso Berruguete as sources for art technology

Rocio Bruquetas and Stefanos Kroustallis

Reworking and reuse: adaptation and use in workshop texts

Mark Clarke

A short-title bibliography of the Secreti by Alessio Piemontese

Ad Stijnman

Theophilus: a methodological approach to reading an art technological source

Doris Oltrogge

A unique 12th-century illuminator's treatise: an original composition incorporated in the Brussels Compendium artis picturae

Mark Clarke

'The book on how one makes colours of all shades in order to illuminate books' revisited

Catarina Miguel, Adelaide Miranda, Marisa Oliveira, Maria Joao Melo and Mark Clarke

A glimpse of the Renaissance: colours and geometrical patterns on a southern German game board of the late 16th century

Sabine Formanek

Identifying 16th-century paints on silver using a contemporary manuscript

Tamar Davidowitz, Tonny Beentjes, Joosje van Bennekom and Sara Creange

Saffron for purity: raw materials for the production of coloured glazes in 16th-century German recipes

Christoph Krekel and Helena Fuertes

An unknown art technological source for Austrian Baroque art: the diary of Abbot Hieronymus Ubelbacher of Durnstein for 1710-40

Manfred Koller

Raised decorations applied to Baroque polychrome sculpture in Coimbra, Portugal: the production of painter-gilders or sculptors?

Agnes Le Gac, Ana Isabel Seruya, Jean Bleton, Sung Voduy and Jose Carlos Frade

'To prepare white excellent...': reconstructions investigating the influence of washing, grinding and decanting of stack-process lead white on pigment composition and particle size

Maartje Stols-Witlox, Luc Megens and Leslie Carlyle

De Groote Waereld in 't Kleen Geschildert (The Big World Painted Small): a Dutch 17th-century treatise on oil painting technique

Arie Wallert

Sources for the study of pigments used by Goya and other 18th-century Spanish painters

Rocio Bruquetas

Instructions on the making of pastel crayons and their use in pastel painting: a manuscript in the Rijksmuseum, Amsterdam

Idelette van Leeuwen, Arie Wallert, Cecile Gombaud and Joana Pedroso

Ernst Berger and the late 19th-century Munich controversy over painting materials

Kathrin Kinseher

Reconstruction and imaging of copy press samples

Agathi Anthoula Kaminari, Athina Alexopoulou, Penelope Banou, Philip Miller Tate and Eileen M. Buckley-Dhoot

Exploring an artist's practice: Edvard Munch's paint tubes

Hartmut Kutzke and Biljana Topalova-Casadiego

Interpreting Van Gogh's plein air painting practice: written sources versus painted image

Devi Ormond, Teio Meedendorp, Muriel Geldof, Luc Megens and Kathrin Pilz

Bernsteinlack, Vernis Vibert and Weimarweiss: the letters of Lyonel Feininger (1871-1956) as a key source for his painting technique

Albrecht Pohlmann

Shorter papers from poster presentations

A virtual colour reconstruction project for Romanesque wall painting in Sixena, Spain

Rosa M. Gasol

The painting process in the Bishop's Chapel in Gurk, Carinthia (Austria)

Markus Santner, Wolfgang Baatz, Renata Burszan and Jorg Riedel

Regraxar or glazing: aspects of this technique in a group of Portuguese paintings attributed to Francisco Joao (active 1563-95)

Helena Pinheiro de Melo, Antonio Joao Cruz, Jana Sanyova, Antonio Candeias, Jose Mirao, Sara Valadas

In search of van Mander's primuersel: coloured intermediate layers in early 16th-century Netherlandish paintings

Abbie Vandivere

Ground layers in Portuguese Baroque polychrome wooden sculptures: analytical results versus documentary sources

Carolina Barata, Antonio Joao Cruz, Jorgelina Carballo, Joao Coroado and Maria Eduarda Araujo

An approach to the analysis of Swedish painted wall hangings (1700-1870)

Ingalill Nystrom

J.W. Schirmer's 19th-century use of grisaille underpainting

Borries Brakebusch

Industrial development of plastics and 20th-century art: new synergies

Silvia Garcia Fernandez-Villa, Margarita San Andres Moya and Selina Blasco

Sabu colours: vinyl artists' paints from the 1960s

Joana Lia Ferreira, Maria Joao Melo and Ana Maria Ramos

Ole Kandelin's painting processes and materials

Suvi Leukumaavaara and Seppo Hornytzkyj

Restoring Francesc Artigau's paintings from 1966

Anna Nualart Torroja, M. Jose Gonzalez Madrid, Marina Mascarella Vilageliu and Marta Oriola Folch

Materials and painting processes of Pedro Cabrita Reis: the artist's memory versus materials analysis

Ana Cudell, Antonio Joao Cruz, Ana Martins, Jorgelina Carballo, Ana Calvo and Sandra Saraiva

Around Theophilus: an expert meeting towards new standards in Theophilus scholarship

Mark Clarke and Ad Stijnman,

Foreword

Acknowledgements

From source to chronology: studies on macro-scale behaviour in art technology

Nicholas Eastaugh

Living sources: experts, masters and practitioners

Timea Tallian

Some thoughts on realia: material sources for art technological source research

Ad Stijnman

Judging art: lawsuits involving the painter and sculptor Alonso Berruguete as sources for art technology

Rocio Bruquetas and Stefanos Kroustallis

Reworking and reuse: adaptation and use in workshop texts

Mark Clarke

A short-title bibliography of the Secreti by Alessio Piemontese

Ad Stijnman

Theophilus: a methodological approach to reading an art technological source

Doris Oltrogge

A unique 12th-century illuminator’s treatise: an original composition incorporated in the Brussels Compendium artis picturae

Mark Clarke

‘The book on how one makes colours of all shades in order to illuminate books’ revisited

Catarina Miguel, Adelaide Miranda, Marisa Oliveira, Maria João Melo and Mark Clarke

A glimpse of the Renaissance: colours and geometrical patterns on a southern German game board of the late 16th century

Sabine Formánek

Identifying 16th-century paints on silver using a contemporary manuscript

Tamar Davidowitz, Tonny Beentjes, Joosje van Bennekom and Sara Creange

Saffron for purity: raw materials for the production of coloured glazes in 16th-century German recipes

Christoph Krekel and Helena Fuertes

An unknown art technological source for Austrian Baroque art: the diary of Abbot Hieronymus Übelbacher of Dürnstein for 1710-40

Manfred Koller

Raised decorations applied to Baroque polychrome sculpture in Coimbra, Portugal: the production of painter-gilders or sculptors?

Agnès Le Gac, Ana Isabel Seruya, Jean Bleton, Sung Voduy and José Carlos Frade

‘To prepare white excellent…’: reconstructions investigating the influence of washing, grinding and decanting of stack-process lead white on pigment composition and particle size

Maartje Stols-Witlox, Luc Megens and Leslie Carlyle

De Groote Waereld in ‘t Kleen Geschildert (The Big World Painted Small): a Dutch 17th-century treatise on oil painting technique

Arie Wallert

Sources for the study of pigments used by Goya and other 18th-century Spanish painters

Rocio Bruquetas

Instructions on the making of pastel crayons and their use in pastel painting: a manuscript in the Rijksmuseum, Amsterdam

Idelette van Leeuwen, Arie Wallert, Cécile Gombaud and Joana Pedroso

Ernst Berger and the late 19th-century Munich controversy over painting materials

Kathrin Kinseher

Reconstruction and imaging of copy press samples

Agathi Anthoula Kaminari, Athina Alexopoulou, Penelope Banou, Philip Miller Tate and Eileen M. Buckley-Dhoot

Exploring an artist’s practice: Edvard Munch’s paint tubes

Hartmut Kutzke and Biljana Topalova-Casadiego

Interpreting Van Gogh’s plein air painting practice: written sources versus painted image

Devi Ormond, Teio Meedendorp, Muriel Geldof, Luc Megens and Kathrin Pilz

Bernsteinlack, Vernis Vibert and Weimarweiß: the letters of Lyonel Feininger (1871-1956) as a key source for his painting technique

Albrecht Pohlmann

Shorter papers from poster presentations

A virtual colour reconstruction project for Romanesque wall painting in Sixena, Spain

Rosa M. Gasol

The painting process in the Bishop’s Chapel in Gurk, Carinthia (Austria)

Markus Santner, Wolfgang Baatz, Renáta Burszán and Jörg Riedel

Regraxar or glazing: aspects of this technique in a group of Portuguese paintings attributed to Francisco João (active 1563-95)

Helena Pinheiro de Melo, António João Cruz, Jana Sanyova, António Candeias, José Mirão, Sara Valadas

In search of van Mander’s primuersel: coloured intermediate layers in early 16th-century Netherlandish paintings

Abbie Vandivere

Ground layers in Portuguese Baroque polychrome wooden sculptures: analytical results versus documentary sources

Carolina Barata, António João Cruz, Jorgelina Carballo, João Coroado and Maria Eduarda Araújo

An approach to the analysis of Swedish painted wall hangings (1700-1870)

Ingalill Nyström

J.W. Schirmer’s 19th-century use of grisaille underpainting

Börries Brakebusch

Industrial development of plastics and 20th-century art: new synergies

Silvia García Fernández-Villa, Margarita San Andrés Moya and Selina Blasco

Sabu colours: vinyl artists’ paints from the 1960s

Joana Lia Ferreira, Maria João Melo and Ana Maria Ramos

Ole Kandelin’s painting processes and materials

Suvi Leukumaavaara and Seppo Hornytzkyj

Restoring Francesc Artigau’s paintings from 1966

Anna Nualart Torroja, M. José González Madrid, Marina Mascarella Vilageliu and Marta Oriola Folch

Materials and painting processes of Pedro Cabrita Reis: the artist’s memory versus materials analysis

Ana Cudell, António João Cruz, Ana Martins, Jorgelina Carballo, Ana Calvo and Sandra Saraiva

Around Theophilus: an expert meeting towards new standards in Theophilus scholarship

Mark Clarke and Ad Stijnman

• Edited by Sigrid Eyb-Green
• Edited by Joyce H. Townsend
• Edited by Mark Clarke
• Edited by Jilleen Nadolny
• Edited by Stefanos Kroustallis