CHEMENG 80Q: Art, Chemistry, and Madness: The Science of Art Materials

CHEMENG 80Q - Spring 2017 - Instructor: Frank, C. & Loesch-Frank, S.

This guide contains selected resources for Chem Eng 80Q students.

Home

Bright earth
1st American ed. New York : Farrar, Straus and Giroux, 2002.
Art & Architecture Library (Bowes) » Stacks » N7432.7 .B35 2002
"From Egyptian wall paintings to the Venetian Renaissance, impressionism to digital images, Philip Ball tells the fascinating story of how art, chemistry, and technology have interacted throughout the ages to render the gorgeous hues we admire on our walls and in our museums.  Ball brings together the themes of art and science to show that chemical technology and the use of color in art have always existed in a symbiotic relationship that has shaped both of their courses throughout history. By tracing their co-evolution, Ball reveals how art is more of a science, and science more of an art, than is commonly appreciated on either side of the fence." (publisher's description)

Parker Library on the web

Corpus Christi College and the Stanford University Libraries welcome you to Parker on the Web - an interactive, web-based workspace designed to support use and study of the manuscripts in the historic Parker Library at Corpus Christi College, Cambridge.

Parker Library on the web
Cambridge, UK : Corpus Christi College ; Stanford, CA : Stanford University Libraries
Stanford University Libraries » Online resource » eResource
"The Parker Library's holdings of Old English texts accounts for nearly a quarter of all extant manuscripts in Anglo-Saxon, including the earliest copy of the Anglo-Saxon Chronicle (c. 890), the Old English Bede and King Alfred's translation of Gregory the Great's Pastoral Care. The Parker Library also contains key Anglo-Norman and Middle English texts ranging from the Ancrene Wisse and the Brut Chronicle to one of the finest copies of Chaucer's Troilus and Criseyde. Other subjects represented in the collection are music, medieval travelogues and maps, bestiaries, royal ceremonies, historical chronicles and Bibles. The Parker Library holds a magnificent collection of English illuminated manuscripts, such as the Bury and Dover Bibles (c. 1135 and c. 1150) and the Chronica maiora by Matthew Paris (c. 1230-50). Scholars in a variety of disciplines - including historians of art, music, science, literature, politics and religion - find invaluable resources in the Library's collection"
The Smithsonian book of books
1st ed. Washington, D.C. : Smithsonian Books, 1992.
Science Library (Li and Ma) » Stacks » Z4 .O54 1992
"The Smithsonian Book of Books presents the history, the art, and the influence of books through all ages and cultures. Beginning with the ancient origins of writing, Olmert revisits great works of religion, science, and literature.  Through more than 300 glorious illustrations from library collections around the globe, you'll discover a wealth of book lore in these pages and gain a new appreciation for the role of books in human society, from our earliest attempts at writing and recording information to the newest electronic books; from sumptuous illuminated and bejeweled medieval manuscripts to Gutenberg and the invention of movable type; from the diverse arts and crafts of bookmaking to the building of magnificent libraries for housing treasured volumes; from the ancient epic of Gilgamesh to the plays of Shakespeare and the tales of Beatrix Potter; and from the earliest illustrated books to revolutionary science texts." (publisher's description)

About CHEMENG 80Q

Preference to sophomores. Chemistry of natural and synthetic pigments in five historical palettes: earth (paleolithic), classical (Egyptian, Greco-Roman), medieval European (Middle Ages), Renaissance (old masters), and synthetic (contemporary). Composite nature of paints using scanning electron microscopy images; analytical techniques used in art conservation, restoration, and determination of provenance; and inherent health hazards. Paintings as mechanical structures. Hands-on laboratory includes stretching canvas, applying gesso grounds, grinding pigments, preparing egg tempera paint, bamboo and quill pens, gilding and illumination, and papermaking.

Paleolithic palettes

The Arts of China
5th ed., rev. and expanded. Berkeley : University of California Press, c2008.
Science Library (Li and Ma) » Stacks » N7340 .S92 2008
"For the fifth edition of his internationally renowned The Arts of China, Michael Sullivan has thoroughly revised and expanded every chapter of this classic history of Chinese art from the Neolithic period to the present day. This new edition reflects the latest archaeological discoveries, pays greater attention to the art of calligraphy, provides more information on Chan (Zen) art, and takes a close look at contemporary art. New images have been added to almost every chapter: the work now features more than four hundred photographs, maps, and illustrations, with more than two-thirds of them in full color. Written in the engaging and lucid style that is Sullivan's hallmark, The Arts of China is readily accessible to general readers as well as serious students of art history. Sullivan's approach remains true to the way the Chinese themselves view art, providing readers with a sense of the sweep of history through China's dynasties. This organizational strategy makes it easy for readers to understand the distinct characteristics of each period of art and to gain a clearer view of how Chinese art has changed in relation to its historical context. With many improvements that bring it fully up to date, The Arts of China will remain the most comprehensive and widely read introduction to the history of Chinese art." (publisher's description)
The Cambridge illustrated history of prehistoric art
Cambridge, U.K. ; New York : Cambridge University Press, 1998.
Art & Architecture Library (Bowes) » Stacks » N5310 .B34 1998
"Beautifully illustrated in color with many rare and unique photographs, prints, and drawings, The Cambridge Illustrated History of Prehistoric Art presents the first balanced and truly worldwide survey of prehistoric art. The book also offers the first detailed account of how the world of scholarship became aware of the existence of prehistoric art, reproducing the very earliest drawings by explorers and surveyors from the 1600s onward to create a unique pictorial as well as discursive resource. With this powerful combination of illustration and analysis, Paul Bahn describes what prehistoric art is and the different ways in which it can shed light on the lives and preoccupations of our ancestors: sexual, humorous, social, economic, and religious." (publisher's description)
Stepping-stones : a journey through the Ice Age caves of the Dordogne
New Haven [Conn.] : Yale University Press, c2010.
Art & Architecture Library (Bowes) » Stacks » N5310.5 .F7 D47 2010
"The cave art of France’s Dordogne region is world-famous for the mythology and beauty of its remarkable drawings and paintings. These ancient images of lively bison, horses, and mammoths, as well as symbols of all kinds, are fascinating touchstones in the development of human culture, demonstrating how far humankind has come and reminding us of the ties that bind us across the ages.  Over more than twenty-five years of teaching and research, Christine Desdemaines-Hugon has become an unrivaled expert in the cave art and artists of the Dordogne region."  more (publisher's description)

Art, Prehistoric

  1. edited by Primitiva Bueno-Ramírez and Paul G. Bahn. 2015

  2. Georges Bataille ; edited and introduced by Stuart Kendall ; translated by Michelle Kendall and Stuart Kendall. 2005

  3. edited by Günter Berghaus. 2004

Cave paintings

  1. Bruno David. 2017

  2. Paul G. Bahn. 2016

  3. Jean Clottes ; translated by Oliver Y. Martin and Robert D. Martin. 2016

Rock paintings

  1. David Coulson and Alec Campbell. 2010

  2. Jean-Loïc Le Quellec ; translated by Paul Bahn. 2004

  3. [edited by Shirley-Ann Pager].. 1997

Classical palettes

Ancient Egyptian Materials and Technology
Cambridge ; New York : Cambridge University Press, 2000.
Science Library (Li and Ma) » Stacks » TA402.5 .E3 A53 2000
"This is a study of the procurement and processing of raw materials employed by the ancient Egyptians over the five millennia of the Predynastic and Pharaonic periods (c.5500-332 BC). During this time, not only were there variations in the preferred materials for particular types of artefacts, but also gradual processes of technological change, and the industries of the Chalcolithic period were complemented and sometimes superseded by the innovations of the Bronze and Iron Ages. Among the topics covered are stone quarrying, the building of temples and pyramids, techniques for preserving meat, fish, and poultry, glass and faience, the baking of bread, brewing of beers, preparation of oils and perfumes, and the mummification of humans and animals. Each chapter has been written by one or more specialists, drawing not only on conventional Egyptological skills but also on expertise in the natural sciences as applied to archaeological data." 
Art & archaeology of the Greek world : a new history, C.2500-C.150 BCE
London : Thames & Hudson, 2012.
Art & Architecture Library (Bowes) » Stacks » N5630 .N44 2012
"The clear chronological narrative is combined with a lively account of art and material culture, emphasizing the diversity and cosmopolitan character of the entire Greek world over two thousand years. Well-known works are presented alongside less-familiar pieces, together with architecture, fortifications and settlement patterns, while recent discoveries are revealed.  A variety of themed boxes address illuminating topics and controversial issues, including looting; the connections between Homer’s poems and the archaeological record; and manufacturing techniques. Plentiful quotations from ancient texts provide first-hand testimonials from the Greek world, and numerous photographs, maps, plans and chronological charts support the text." (publisher's description)
The Grove encyclopedia of classical art and architecture
Oxford ; New York : Oxford University Press, c2007.
Art & Architecture Library (Bowes) » Reference » N5610 .G76 2007 V.1
"Covering all aspects of classical art from the Etruscans to the fall of the Roman Empire, The Grove Encyclopedia of Classical Art & Architecture is a comprehensive reference source on this important field of study."
Making classical art : process & practice
Stroud, Gloucestershire : Tempus ; Charleston, SC : Published in the U.S.A. by Arcadia, 2000.
Art & Architecture Library (Bowes) » Stacks » N5610 .M35 2000
"The first part is dedicated to the production processes of Greek and Roman art.  Practical aspects associated with working practices, techniques, materials, and tools are discussed in brief papers on stone and bronze sculpture, wall painting, mosaics, and Greek painted pottery.  The second part is an introduction to various categories of artistic expression, such as colossal statues, the Parthenon, Greek funerary monuments, and Macedonian tomb painting." (source: Art, Greek in Oxford Bibliographies Online Research Guide)

Masterpieces of classical art
London : British Museum Press, 2009.
Art & Architecture Library (Bowes) » Stacks » N5610 .W45 2009
"The British Museum has one of the finest collections of antiquities from ancient Greece and Rome outside of those countries. Masterpieces of Classical Art presents the highlights of the British Museum's collection for the first time in print. This beautiful volume displays 180 of the most important objects, including the most famous (such as the Parthenon sculptures), as well as a selection of lesser-known but equally significant pieces. Together, these works offer an overview of the whole of ancient Classical art.  Each object is illustrated with a large color photograph, many of which were taken especially for this publication. The accompanying text unfolds the unique story and features of each object. The introduction offers a brief history of the vast collections of the Department of Greek and Roman Antiquities at the British Museum. Additional section introductions give a brief background for each period of Classical art." (publisher's description)
The Oxford encyclopedia of ancient Egypt
New York : Oxford University Press, 2001.
Green Library » Information Center » DT58 .O94 2001 V.1
"A comprehensive, authoritative reference source which brings together centuries of scholarship and the latest research on every aspect of Egyptian life. Featuring 600 original articles written by leading scholars The Oxford Encyclopedia of Ancient Egypt goes far beyond the records of archaeology to make available what we know about the full social, political, religious, cultural and artistic legacy of this 5,000 year civilization." (source: Nielsen book data)
Roman art : Romulus to Constantine
5th ed. Upper Saddle River, N.J. : Pearson Prentice Hall, c2009.
Green Library » Stacks » N5760 .R36 2009
"Ideal for readers who are studying Roman art for the first time, this exceptionally well-illustrated volume explores Roman art in the traditional historical manner--with a focus on painting, sculpture, architecture, and minor arts. It assumes no prior acquaintance with the classical world, and explains the necessary linguistic, historical, religious, social, and political background needed to fully understand Roman art." (source: Nielsen Book Data)
Roman painting
Cambridge [England] ; New York : Cambridge University Press, 1990.
Art & Architecture Library (Bowes) » Stacks » ND120 .L56 1990
"This book is the first general history of Roman painting written specifically for English-language readers. Large numbers of wall-paintings have survived from the Roman world. Their influence upon European artists of the Renaissance and Neo-Classical periods has been considerable. Among other topics the book discusses the so-called Four Pompeian Styles, their spread to the provinces, the broad developments in scheme, style and subject-matter which followed them, the relation of mythological pictures to Greek 'old masters', the factors which dictated the choice of particular subjects and the way in which they were represented, the technical processes of ancient wall-painting, and what we know about the painters and the organisation of their workshops." (source: Nielsen Book Data)

Art, Ancient Egypt

  1. إعداد وتحقيق رجب الأغر.. 2016

  2. edited by Melinda K. Hartwig. 2015

  3. Christina Riggs. 2014

Medieval palettes

Art in the making : Italian painting before 1400
London : National Gallery, 1989.
Science Library (Li and Ma) » Stacks » ND615 .G72
"'Italian Painting before 1400' was the second exhibition at the National Gallery, London in the series 'Art in the Making', held 29 November 1989-28 February 1990. It focused on the craft of panel painting and investigated the relationship between the physical actuality of a painting and other aspects of its history: technique and style, construction and historical reconstruction are recurrent themes. The paintings displayed were all drawn from the Gallery's collection and they were re-examined technically and historically for the exhibition. Whereas the exhibition was selective and aimed at the general public, the catalogue is complete and written with seamless collaboration by the Gallery's curators, conservators and scientists." (Book review by Caroline Villers in Studies in Conservation 35 (3): 163-165, 1990.)
A History of Illuminated Manuscripts
2. ed. rev., enl. and with new ill. London : Phaidon, 1994.
Science Library (Li and Ma) » Stacks » ND2900 .D36 1994 F
"Medieval manuscripts are among Western civilization's greatest glories. Laboriously written by hand and often sumptuously decorated, they have always been highly valued and remain as brilliant, fascinating and popular as ever.  Christopher de Hamel vividly describes the circumstances in which such books were created - from the earliest monastic Gospel Books to the most lavish Books of Hours. For the second edition of this book, the text has been revised and updated and the whole volume completely redesigned with a striking wealth of new colour illustrations." (publisher's description)

Introduction to manuscript studies
Ithaca, N.Y. : Cornell University Press, 2007.
Green Library » Lane Reading Room: Reference » Z105 .C58 2007 F
Providing a comprehensive and accessible orientation to the field of medieval manuscript studies, this lavishly illustrated book by Raymond Clemens and Timothy Graham is unique among handbooks on paleography, codicology, and manuscript illumination in its scope and level of detail. It will be of immeasurable help to students in history, art history, literature, and religious studies who are encountering medieval manuscripts for the first time, while also appealing to advanced scholars and general readers interested in the history of the book before the age of print.  Introduction to Manuscript Studies features three sections:
  • Part 1, "Making the Medieval Manuscript," offers an in-depth examination of the process of manuscript production, from the preparation of the writing surface through the stages of copying the text, rubrication, decoration, glossing, and annotation to the binding and storage of the completed codex.
  • Part 2, "Reading the Medieval Manuscript," focuses on the skills necessary for the successful study of manuscripts, with chapters on transcribing and editing; reading texts damaged by fire, water, insects, and other factors; assessing evidence for origin and provenance; and describing and cataloguing manuscripts. This part ends with a survey of sixteen medieval scripts dating from the eighth to the fifteenth century.
  • Part 3, "Some Manuscript Genres," provides an analysis of several of the most frequently encountered types of medieval manuscripts, including Bibles and biblical concordances, liturgical service books, Books of Hours, charters and cartularies, maps, and rolls and scrolls. The book concludes with an extensive glossary, a guide to dictionaries of medieval Latin, and a bibliography subdivided and keyed to the subsections of the volume's chapters.
Every chapter in this magisterial guidebook features numerous color plates that exemplify each aspect described in the text and are drawn primarily from the collections of the Newberry Library in Chicago and the Parker Library of Corpus Christi College, Cambridge.  Also see: Parker Library on the web

Parker Library on the web

Corpus Christi College and the Stanford University Libraries welcome you to Parker on the Web - an interactive, web-based workspace designed to support use and study of the manuscripts in the historic Parker Library at Corpus Christi College, Cambridge.

Parker Library on the web
Cambridge, UK : Corpus Christi College ; Stanford, CA : Stanford University Libraries
Stanford University Libraries » Online resource » eResource
"The Parker Library's holdings of Old English texts accounts for nearly a quarter of all extant manuscripts in Anglo-Saxon, including the earliest copy of the Anglo-Saxon Chronicle (c. 890), the Old English Bede and King Alfred's translation of Gregory the Great's Pastoral Care. The Parker Library also contains key Anglo-Norman and Middle English texts ranging from the Ancrene Wisse and the Brut Chronicle to one of the finest copies of Chaucer's Troilus and Criseyde. Other subjects represented in the collection are music, medieval travelogues and maps, bestiaries, royal ceremonies, historical chronicles and Bibles. The Parker Library holds a magnificent collection of English illuminated manuscripts, such as the Bury and Dover Bibles (c. 1135 and c. 1150) and the Chronica maiora by Matthew Paris (c. 1230-50). Scholars in a variety of disciplines - including historians of art, music, science, literature, politics and religion - find invaluable resources in the Library's collection"
Materials, methods, and masterpieces of medieval art
Santa Barbara, Calif. : Praeger, 2009.
Art & Architecture Library (Bowes) » Stacks » N5970 .B46 2009
"During the Middle Ages, embellishment was applied to buildings, objects, and bodies, and ornament was abundant and opulent. Colorful paintings, mosaics, and tapestries covered walls; stained glass glittered in windows; gems and enamel sparkled on objects exquisitely crafted of gold and silver. Members of the upper class adorned themselves in elegant attire, the clergy donned sumptuous ecclesiastical vestments, and elaborate armor was the ultimate military mode.  Materials, Methods, and Masterpieces of Medieval Art provides a comprehensive and detailed analysis of the work done by artists in western Europe during the Middle Ages. Art historian Janetta Rebold Benton uses examples such as the Book of Kells, Bury Saint Edmunds Cross, and the Bayeux Tapestry, and the work of artists such as Jan van Eyck and Giotto to explore the various media available to medieval artists and the ways in which those media were used to create a stunning array of masterworks.  Although the visual arts of the Middle Ages were extremely colorful, today much of that color has diminished or disappeared, the pigments and threads faded, the gold abraded, the silver tarnished. Materials, Methods, and Masterpieces of Medieval Art allows these works to sparkle once more." (publisher's description)
The Smithsonian book of books
1st ed. Washington, D.C. : Smithsonian Books, 1992.
Science Library (Li and Ma) » Stacks » Z4 .O54 1992
"The Smithsonian Book of Books presents the history, the art, and the influence of books through all ages and cultures. Beginning with the ancient origins of writing, Olmert revisits great works of religion, science, and literature.  Through more than 300 glorious illustrations from library collections around the globe, you'll discover a wealth of book lore in these pages and gain a new appreciation for the role of books in human society, from our earliest attempts at writing and recording information to the newest electronic books; from sumptuous illuminated and bejeweled medieval manuscripts to Gutenberg and the invention of movable type; from the diverse arts and crafts of bookmaking to the building of magnificent libraries for housing treasured volumes; from the ancient epic of Gilgamesh to the plays of Shakespeare and the tales of Beatrix Potter; and from the earliest illustrated books to revolutionary science texts." (publisher's description)
The Grove encyclopedia of medieval art and architecture
New York : Oxford University Press, c2012.
Art & Architecture Library (Bowes) » Reference » N5965 .G76 2012 V.1
"This 6-volume set provides expansive coverage of Western medieval art and architecture, from the western shores of Ireland from the 6th century to the eastern fringes of Europe in the early 16th century.  It includes 2030 entries, including 270 entirely new articles, in addition to updated articles and bibliographies from the acclaimed Grove Dictionary of Art.  It also includes 637 illustrations and line drawings, including 72 pages of color plates."  (publisher's description)
Medieval art : painting-sculpture-architecture, 4th-14th century
Englewood Cliffs, N.J. : Prentice-Hall ; New York : H.N. Abrams, c1989.
Green Library » Bender Room » N5975 .S58 1989B F
"Broad in scope, this volume discusses the arts of the church - architecture, sculpture, manuscript illumination, and sumptuary arts - in Italy, Byzantium, Germany, and France from the 4th to the 14th centuries - including Early Christian, Byzantine, Pre-Romanesque Hiberno-Saxon, Carolingian, Ottonian, Romanesque, and Gothic art."  (source: Nielsen Book Data)

Art, Medieval

  1. Herbert L. Kessler. 2004

  2. Wendy A. Stein. 2016

  3. edited by Christian Krötzl & Miikka Tamminen. 2013

Renaissance palettes

Art in the making: Rembrandt
London : National Gallery Co. ; [New Haven, Conn.] : Distributed by Yale University Press, 2006.
Science Library (Li and Ma) » Stacks » ND653 .R4 A4 2006E
"Rembrandt (1606–1669) is generally regarded as the finest painter of the Dutch “Golden Age.” This new edition of Art in the Making: Rembrandt (published on the 400th anniversary of the artist’s birth) reexamines 21 paintings firmly attributed to Rembrandt and 6 now assigned to followers. It reassesses his technique, materials, and working methods in the light of significant scholarly developments over the last 20 years, addressing problems of attribution that were hardly touched on in the original, groundbreaking edition of 1988.  Introductory essays by distinguished conservation, curatorial, and scientific specialists cover the artist’s studio and working methods, the training of painters in 17th-century Holland, and Rembrandt’s materials and technique. The essays are followed by handsomely illustrated catalogue entries on 27 paintings. A comprehensive bibliography provides a rich source of information about the practice of oil painting, not only for Rembrandt but for 17th-century Dutch painting in general." (publisher's description)
Traditional oil painting : advanced techniques and concepts from the Renaissance to the present
New York : Watson-Guptill Publications, 2007.
Science Library (Li and Ma) » Stacks » ND1500 .E45 2007
"As more and more artists today look to the past, there has been a tremendous resurgence of interest in painting realistically - in creating convincing illusions of three-dimensional depth on two dimensional surfaces. This comprehensive sourcebook explores the most advanced levels of oil painting, with full information on the latest scientific discoveries. Author and distinguished artist Virgil Elliott examines the many elements that let artists take the next step in their work: mental attitude, aesthetic considerations, the importance of drawing, principles of visual reality, materials, techniques, portraiture, photographic images versus visual reality, and colour." (description from Waterstone's Bookstore)
Art in the making: Underdrawings in Renaissance paintings
London : National Gallery Co. ; [New Haven, Conn.] : Distributed by Yale University Press, 2002.
Science Library (Li and Ma) » Stacks » ND1635 .U53 2002
"In Italy between 1270 and 1370 the whole tradition of European painting underwent a radical and enduring change of direction. This attractive and unusual study of Italian painted panels of the Early Renaissance examines the materials with which this transformation was effected and demonstrates how modern technology has increased our understanding of medieval panel painting. The authors survey the primarily religious function of these works and the professional context in which the artists worked. They provide explanations of the construction of panels and the preparation of wood for painting and of the preparation and application of gold leaf. The substantial sections on pigments and color represent original research done at the Gallery that has enabled the writers to provide the first comprehensive survey of how paints were prepared, mixed, and applied. " (publisher's description)
History of Italian Renaissance art : painting, sculpture, architecture
7th ed. Upper Saddle River, NJ : Prentice Hall, c2011.
Art & Architecture Library (Bowes) » Reference » N6915 .H37 2011 F
"A broad survey of art and architecture in Italy between c. 1250 and 1600, this book approaches the works from the point of view of the artist as individual creator and as an expression of the city within which the artist was working." (source: Nielsen Book Data)
Northern Renaissance art : painting, sculpture, the graphic arts from 1350 to 1575
[2nd ed.] Upper Saddle River, NJ : Prentice Hall, c2005.
Art & Architecture Library (Bowes) » Reference » N6370 .S6 2005 F
"For courses in Northern Renaissance Art, and Introduction to Dutch/German Art. The only comprehensive survey available for the study of Northern Renaissance Art, this text presents stylistic and iconographical themes, art historical scholarship, and valuable analyses for todays students. The coverage and rich color capture the author's lasting excitement for the period and its artists."  (source: Nielsen Book Data)

Art, Renaissance

  1. Tom Nichols. 2010

  2. Christopher Masters. 2008

  3. Stefano Zuffi. 2007

Painting -- 16th Century

  1. by Angela Cerasuolo ; translated by Helen Glanville. 2017

  2. Letizia Treves ; with contributions by Aidan Weston-Lewis, Gabriele Finaldi, Christian Tico Seifert, Adriaan E. Waiboer, Francesca Whitlum-Cooper and Marjorie E. Wieseman. 2016

  3. Joseph Leo Koerner. 2016

Painting -- 15th Century

  1. Gregory T. Clark. 2016

  2. edited by John Marciari ; with essays by Maryan W. Ainsworth, Till-Holger Borchert, Noël Geirnaert, John Marciari, Gianluca Poldi and Giovanni C.F. Villa, and Ilona van Tuinen. 2016

  3. Thomas Skorupa. 2015

Painting -- 14th Century

  1. Péter Bokody (Plymouth University, UK). 2015

  2. herausgegeben von Birgit Ulrike Münch und Jürgen Müller ; unter Mitarbeit von Elsa Osswald. 2015

  3. Maryan W. Ainsworth and Joshua P. Waterman ; contributions by Timothy B. Husband and Karen E. Thomas ; with Dorothy Mahon ... [et al.].. 2013

Contemporary palettes

The arts of Asia : materials, techniques, styles
London ; New York : Thames & Hudson, 2005.
Science Library (Li and Ma) » Stacks » N7260 .M33 2005
"The Arts of Asia is the first book to analyse and survey some of the most beautiful materials used in Asian art and the ways in which they have been transformed into glorious works of art over the centuries. Each material is studied in turn - jade, silk, porcelain, lacquer, ivory, bamboo, paper, gold, stone and wood - with clear explanations of the techniques used in the artistic process, from ancient prehistory to the art of the present day. Ideally suited to the needs of the ever-growing number of collectors, the book will also be required reading for any student of Asia and its cultures."  (source: Nielsen Book Data)
The Arts of China
5th ed., rev. and expanded. Berkeley : University of California Press, c2008.
Science Library (Li and Ma) » Stacks » N7340 .S92 2008
"For the fifth edition of his internationally renowned The Arts of China, Michael Sullivan has thoroughly revised and expanded every chapter of this classic history of Chinese art from the Neolithic period to the present day. This new edition reflects the latest archaeological discoveries, pays greater attention to the art of calligraphy, provides more information on Chan (Zen) art, and takes a close look at contemporary art. New images have been added to almost every chapter: the work now features more than four hundred photographs, maps, and illustrations, with more than two-thirds of them in full color. Written in the engaging and lucid style that is Sullivan's hallmark, The Arts of China is readily accessible to general readers as well as serious students of art history. Sullivan's approach remains true to the way the Chinese themselves view art, providing readers with a sense of the sweep of history through China's dynasties. This organizational strategy makes it easy for readers to understand the distinct characteristics of each period of art and to gain a clearer view of how Chinese art has changed in relation to its historical context. With many improvements that bring it fully up to date, The Arts of China will remain the most comprehensive and widely read introduction to the history of Chinese art." (publisher's description)

Art, Contemporary

  1. Herausgeber: Hendrik Bündge und Johan Holten ; Texte: Hendrik Bündge [and six others] ; Übersetzung: Brian Currid, Fruszina Jesse ; Staatliche Kunsthalle Baden-Baden. 2015

  2. [interview by Hans Ulrich Obrist ; texts and glossary by Claude Rutault.].. 2013

  3. Alfredo Jaar ; a cura di Claudia Gioia. 2013

Color & pigments

Color - Life sciences

The artist's eyes : vision and the history of art
New York ; London : Abrams, 2009.
Science Library (Li and Ma) » Stacks » N71.8 .M37 2009
"This title presents a celebration of vision, of art and of the relationship between the two. Artists see the world in physical terms as we all do. However, they may be more perceptive than most in interpreting the complexity of how and what they see. In this fascinating juxtaposition of science and art history, ophthalmologists Michael Marmor and James G. Ravin examine the role of vision and eye disease in art. They focus on the eye, where the process of vision originates and investigate how aspects of vision have inspired - and confounded - many of the world's most famous artists. Why do Georges Seurat's paintings appear to shimmer? How come the eyes in certain portraits seem to follow you around the room? Are the broad brushstrokes in Monet's Water Lilies due to cataracts? Could van Gogh's magnificent yellows be a result of drugs? How does eye disease affect the artistic process? Or does it at all? "The Artist's Eyes" considers these questions and more. It is a testament to the triumph of artistic talent over human vulnerability and a tribute to the paintings that define eras, the artists who made them and the eyes through which all of us experience art."  (source: Nielsen Book Data)
Vision and Art
Revised and expanded edition.
Science Library (Li and Ma) » Stacks » N7430.5 .L54 2014
In Vision and Art, Harvard neurobiologist Margaret Livingstone demonstrates that how we see art depends ultimately on the cells in our eyes and our brains. In this new expanded edition Livingstone thoroughly updates this groundbreaking study with the latest findings gathered from her research, with 32 additional pages of new text and images, including 3 brand new chapters. She begins by offering a comprehensive account of the biology of vision, drawing on the history of science and her own cutting edge discoveries. She then turns to art and delves into the science underlying various phenomena in painting, using many examples from the mysterious allure of the Mona Lisa to the amazing atmospheric effects of the impressionists to illustrate her points. Along the way, she shows how similar effects can be used to enhance the impact of advertisements, and explores the different ways images look in paintings, in photographs, on TV, and on computer screens. Accompanying Livingstone's lively and lucid prose are many easy to understand charts and diagrams that clarify her points. Some of these illustrations are based on simple and elegant experiments that show us how the human visual system translates light into color. Others demonstrate how cells in the retina code information and send it to the brain. Still others shed light on how great painters devise techniques to fool the eye into seeing depth and movement. By skillfully bridging the space between science and art, Vision and Art will arm artists and designers with new techniques that they can use in their own craft and thrill any reader with an interest in the biology of human vision. (source: Nielsen Book Data)

Color - Physical sciences

The organic chemistry of museum objects
2nd ed. Oxford [England] ; Boston : Butterworth-Heinemann, 1994.
Science Library (Li and Ma) » Stacks » AM145 .M55 1994
"This is a survey of the chemical composition, properties and analysis of the whole range of organic materials incorporated into objects and artworks found in museum collections. The authors cover the fundamental chemistry of the bulk materials such as wood, paper, natural fibres and skin products, as well as that of the relatively minor components incorporated as paint, media, varnishes, adhesives and dyes. This edition follows the structure of the first, though it has been extensively updated. In addition to chapters on basic organic chemistry, analytical methods, analytical findings and fundamental aspects of deterioration, the subject matter is grouped as far as possible by broad chemical class - oils and fats, waxes, bitumens, carbohydrates, proteins, natural resins, dyestuffs and synthetic polymers. Since the first edition, significant advances have been made in some fields - the red insect dyestuffs, synthetic varnish resins, and the use of antioxidants, for example - and are given more extended discussion, while some other topics, such as the synthetic resin parylene, are newly introduced. The book will serve the needs of restorers and conservators, museum scientists, students of conservation and curators as well as organic chemists faced with the challenging task of analysing small samples of complex and degraded natural products."  (source: Nielsen Book Data)
The physics and chemistry of color : the fifteen causes of color
2nd ed. New York : Wiley, c2001.
Science Library (Li and Ma) » Stacks » QC495 .N35 2001
"An updated and revised second edition of the acclaimed classic Have you ever wondered why the sky is blue, or a ruby red? This classic volume studies the physical and chemical origins of color by exploring fifteen separate causes of color and their varied and often subtle occurrences in biology, geology, mineralogy, the atmosphere, technology, and the visual arts. It covers all of the fundamental concepts at work and requires no specialized knowledge. Author Kurt Nassau includes hundreds of illustrations, tables, and photographs--as well as end--of--chapter problems--that aid in visualizing the concepts discussed. An updated bibliography permits readers to pursue their own particular interests and an expanded series of appendices cover advanced topics. The Physics and Chemistry of Color, Second Edition is a one--of--a--kind treatment of color that provides both detailed physical and chemical properties of color and a more general overview of the subject. It will prove highly useful to specialists and non--specialists alike--and fascinate those with varied interests from optics to art history."  (source: Nielsen Book Data)
"The physics and materials science behind paintings: the pigments, binders, canvas, and varnish that go into making a painting appear the way it does. The text discusses the physical principles behind the colors seen and how these change with illumination, the various types of paint and binders used in both old and modern paintings, and the optics and microscopic structure of paint films. Chapters on dating, binders, and dendochronology have been contributed by experts in the respective fields." (publisher's description)

Color - Humanities & social sciences

Black: the history of a color
Princeton, N.J. : Princeton University Press, c2009.
Science Library (Li and Ma) » Stacks » BF789 .C7 P3813 2009
"Black--favorite color of priests and penitents, artists and ascetics, fashion designers and fascists--has always stood for powerfully opposed ideas: authority and humility, sin and holiness, rebellion and conformity, wealth and poverty, good and bad. In this beautiful and richly illustrated book, the acclaimed author of Blue now tells the fascinating social history of the color black in Europe.  In the beginning was black, Michel Pastoureau tells us. The archetypal color of darkness and death, black was associated in the early Christian period with hell and the devil but also with monastic virtue. In the medieval era, black became the habit of courtiers and a hallmark of royal luxury. Black took on new meanings for early modern Europeans as they began to print words and images in black and white, and to absorb Isaac Newton's announcement that black was no color after all. During the romantic period, black was melancholy's friend, while in the twentieth century black (and white) came to dominate art, print, photography, and film, and was finally restored to the status of a true color.  For Pastoureau, the history of any color must be a social history first because it is societies that give colors everything from their changing names to their changing meanings--and black is exemplary in this regard. In dyes, fabrics, and clothing, and in painting and other art works, black has always been a forceful--and ambivalent--shaper of social, symbolic, and ideological meaning in European societies.  With its striking design and compelling text, Black will delight anyone who is interested in the history of fashion, art, media, or design." (publisher's description)
Blue: the history of a color
Princeton, N.J. : Princeton University Press, c2001.
Green Library » Bender Room » BF789 .C7 P369 2001
"Blue has a long and topsy-turvy history in the Western world. Once considered a hot color, it is now icy cool. The ancient Greeks scorned it as ugly and barbaric, but most Americans and Europeans now pick it as their favorite color. In this entertaining history, the renowned medievalist Michel Pastoureau traces the changing meanings of blue from its rare appearances in prehistoric art to its international ubiquity today in blue jeans and Gauloises cigarette packs.  Any history of color is, above all, a social history. Pastoureau investigates how the ever-changing role of blue in society has been reflected in manuscripts, stained glass, heraldry, clothing, paintings, and popular culture. Beginning with the almost total absence of blue from ancient Western art and language, the story moves to medieval Europe. As people began to associate blue with the Virgin Mary, the color entered the Church despite the efforts of chromophobic prelates. Blue was reborn as a royal color in the twelfth century and functioned as a formidable political and military force through the French Revolution. As blue triumphed in the modern era, new shades were created, and blue became the color of romance. Finally, Pastoureau follows blue into contemporary times, when military clothing gave way to the everyday uniform of blue jeans, and blue became the universal and unifying color of the Earth as seen from space.  With an exceptionally elegant design and strikingly illustrated with one hundred color plates, Blue tells the fascinating history of our favorite color and the cultures that have hated it, loved it, and created great art with it." (publisher's description)


Green: the history of a color
Science Library (Li and Ma) » Stacks » BF789 .C7 P39513 2014
In this beautiful and richly illustrated book, the acclaimed author of Blue and Black presents a fascinating and revealing history of the color green in European societies from prehistoric times to today. Examining the evolving place of green in art, clothes, literature, religion, science, and everyday life, Michel Pastoureau traces how culture has profoundly changed the perception and meaning of the color over millennia-and how we misread cultural, social, and art history when we assume that colors have always signified what they do today. Filled with entertaining and enlightening anecdotes, Green shows that the color has been ambivalent: a symbol of life, luck, and hope, but also disorder, greed, poison, and the devil. Chemically unstable, green pigments were long difficult to produce and even harder to fix. Not surprisingly, the color has been associated with all that is changeable and fleeting: childhood, love, and money. Only in the Romantic period did green definitively become the color of nature. Pastoureau also explains why the color was connected with the Roman emperor Nero, how it became the color of Islam, why Goethe believed it was the color of the middle class, why some nineteenth-century scholars speculated that the ancient Greeks couldn't see green, and how the color was denigrated by Kandinsky and the Bauhaus. More broadly, Green demonstrates that the history of the color is, to a large degree, one of dramatic reversal: long absent, ignored, or rejected, green today has become a ubiquitous and soothing presence as the symbol of environmental causes and the mission to save the planet. With its striking design and compelling text, Green will delight anyone who is interested in history, culture, art, fashion, or media. (publisher's description)
Red: the Art and Science of a Colour
Art & Architecture Library (Bowes) » Stacks » ND1510 .B84 2016
Red grabs your attention. Today we associate red with danger, sex, anger and more, yet the colour was once so significant that things which have a profound impact upon our lives were widely called red, even though they are often not red at all.Spike Bucklow takes us from a 34,000-year-old shaman burial dress to the iPhone screen, exploring the myriad of purposes we have put red to as well as the materials from which it comes. The pursuit of the colour drove medieval alchemy and modern chemistry alike, and red has been found in insects, tree resins, tar, earths and excitable gases. It is associated with earth, blood and fire, with the holy, with national flags and powerful ideologies.Red is a material and cultural history that makes one see this colour afresh, a crucial part of the human visual world. (publisher's description)
Red: The History of a Color
Art & Architecture Library (Bowes) » Stacks » BF789 .C7 P39813 2016
A beautifully illustrated visual and cultural history of the color red throughout the ages The color red has represented many things, from the life force and the divine to love, lust, and anger. Up through the Middle Ages, red held a place of privilege in the Western world. For many cultures, red was not just one color of many but rather the only color worthy enough to be used for social purposes. In some languages, the word for red was the same as the word for color. The first color developed for painting and dying, red became associated in antiquity with war, wealth, and power. In the medieval period, red held both religious significance, as the color of the blood of Christ and the fires of Hell, and secular meaning, as a symbol of love, glory, and beauty. Yet during the Protestant Reformation, red began to decline in status. Viewed as indecent and immoral and linked to luxury and the excesses of the Catholic Church, red fell out of favor. After the French Revolution, red gained new respect as the color of progressive movements and radical left-wing politics. In this beautifully illustrated book, Michel Pastoureau, the acclaimed author of Blue, Black, and Green, now masterfully navigates centuries of symbolism and complex meanings to present the fascinating and sometimes controversial history of the color red. Pastoureau illuminates red's evolution through a diverse selection of captivating images, including the cave paintings of Lascaux, the works of Renaissance masters, and the modern paintings and stained glass of Mark Rothko and Josef Albers. (publisher's description)

Materials & techniques

The arts of Asia : materials, techniques, styles
London ; New York : Thames & Hudson, 2005.
Science Library (Li and Ma) » Stacks » N7260 .M33 2005
"The Arts of Asia is the first book to analyse and survey some of the most beautiful materials used in Asian art and the ways in which they have been transformed into glorious works of art over the centuries. Each material is studied in turn - jade, silk, porcelain, lacquer, ivory, bamboo, paper, gold, stone and wood - with clear explanations of the techniques used in the artistic process, from ancient prehistory to the art of the present day. Ideally suited to the needs of the ever-growing number of collectors, the book will also be required reading for any student of Asia and its cultures."  (source: Nielsen Book Data)
The artist's handbook of materials and techniques
5th ed., rev. and updated / New York, N.Y., U.S.A. : Viking, 1991.
Science Library (Li and Ma) » Reference » ND1500 .M3 1991
"Since 1940, when it was originally published, The Artist's Handbook has been indispensable for thousands of practicing artists and art students. The book has remained continuously in print through many editions and has some more than a quarter of a million copies. A detailed index makes a wealth of information readily available. Charts and line drawings throughout.  It deals mostly with the chemical and physical properties of traditional painterly materials such as oil, tempera, and encaustic, as well as solvents, varnishes, and painting mediums. It also has extensive coverage of ancillary activities such as stretching and preparing canvas, care and maintenance of tools, and conservation of older paintings.  It is, as American Artist Magazine calls it, the "artist's bible," an invaluable reference for the painter, sculptor, and printmaker. During the past few years, however, new art movements and new research have led to many changes in the technology of artist's materials. With the assistance of Mayer's window, Bena, and his colleagues, Viking and Steven Sheehan, Director of the Ralph Mayer Center at Yale University, have prepared this latest revision of the book, which is now completely updated and expanded" (description from Barnes and Noble)
Artists' pigments : a handbook of their history and characteristics
Cambridge [Cambridgeshire] ; New York : Cambridge University Press ; Washington : National Gallery of Art, c1986-
Art & Architecture Library (Bowes) » Stacks
"For the practicing artist, to learn a pigment's color, hiding power, lightfastness, toxicity, compatibility.  For the art historian, to know how an artist worked, what pigments were used, whether they were pure or mixed, opaque or transparent, layered or not.  For the conservator, to devise techniques necessary for the care and conservation of works of art, to determine what is original, to repair damages, to compensate for missing portions of a painted surface.  For the conservation scientist, to learn identification methods used, including optical microscopy, microchemical tests, X-ray diffraction, infrared and reflectance spectrophotometry, and electron microscopy." (publisher's description)
Table of contents:
  • Volume 1: Indian Yellow; Cobalt Yellow; Barium Sulfate - Natural and Synthetic; Cadmium Yellows, Oranges, and Reds; Red Lead and Minium; Green Earth; Zinc White; Chrome Yellow and Other Chromate Pigments; Lead Antimonate Yellow; Carmine. 
  • Volume 2: Azurite and Blue Verditer Ultramarine Blue; Natural and Artificial Lead; White Lead-Tin; Yellow Smalt Verdigris and Copper Resinate; Vermilion and Cinnabar; Malachite and Green; Verditer; Calcium Carbonate; Whites. 
  • Volume 3: Egyptian Blue; Orpiment and Realgar; Indigo and Woad; Madder and Alizarin; Gamboge; Vandyke Brown; Prussian Blue; Emerald Green and Scheele's Green; Chromium Oxide Greens; Titanium Dioxide Whites. 
  • Volume 4: Pigments Based on Carbon; Iron Oxide Pigments; Asphalt; Cobalt Blue; Arylide (Hansa) Yellow Pigments.
Artists' Pigments c. 1600-1835 : a study in English documentary sources
2nd. ed. London ; Boston : Butterworth, 1982.
Science Library (Li and Ma) » Stacks » ND1500 .H36 1982
"Between the late sixteenth century and early nineteenth centuries the artist's world underwent great and significant change. By the end of this period the transition from mediaeval to modern colors was well under way. R. D. Harley's book applies itself to a detailed and comprehensive examination of the primary documentary sources of this crucial period, providing an invaluable complement to the work of analytical scientists concerned with the identification of pigments. In the opening three chapters, attention is paid to the various documentary sources examined, from the learned treatise to the tradesman's guide, and in particular to the problem of their reliability. The information derived from these documents forms the basis of the nine subsequent chapters in which individual colors, grouped according to hue, are investigated. In conclusion, the author addresses the development of color manufacture in this period of unprecedented industrial and social change in England. Great care is taken at all times to deal with the interpretation of color names used at different times, and with dates of discovery and commercial availability of new pigments." (publisher's description)
The painter's handbook : a complete reference
Rev. and expanded. New York : Watson-Guptill Publications, 2006.
Art & Architecture Library (Bowes) » Reference » ND1500 .G6155 2006
"The original 1993 edition of "The Painter's Handbook" was not just another guide to artist's materials; it established itself as an amazingly thorough professional resource, with complete details on the vast array of materials available to the artist, including canvases and papers, sizes and grounds, pigments and binders, solvents and thinners, varnishes and preservatives. The book also contains dozens of step-by-step recipes for making art materials, including made at home or the studio paints, pastels, varnishes, gessoes, sizes, supports, and equipment. "The Painter's Handbook", revised and expanded, is a thoroughly revised edition of the original publication. It has been updated to accommodate the enormous changes in the art materials world during the past decade: in which many new kinds of revolutionary paints and pigments have entered the market; new health issues are addressed concerning outmoded and even harmful materials and practices; and new ASTM standards - of which the author Mark Gottsegen is the chairman of this government committee to set standards for the performance, quality, and health labelling of artist's paints and related materials - on light fastness and the general longevity of art materials are provided." (source: Nielsen Book Data)
The potter's dictionary of materials and techniques
5th ed. London : A&C Black ; Philadelphia : University of Pennsylvania Press, 2004.
Art & Architecture Library (Bowes) » Stacks » TT919.5 .H35 2004
"The updated version of our comprehensive dictionary, covering all the terminology, materials and techniques for potters. It clearly and logically presents the potter with information on everything; the sources and character of materials, the behaviour of clays and glazes, forming methods and firing processes. This new edition covers recent developments, expands on previous subjects, and brings old entries up to date. New colour sections cover raku, maiolica, crystalline glazes, salt and soda, stoneware and porcelain, including graphs and diagrams where helpful. In short, the essential explanation of everything in the ceramic world."  (source: Nielsen Book Data)
Seeing through paintings : physical examination in art historical studies
New Haven : Yale University Press, c2000.
Science Library (Li and Ma) » Stacks » ND1635 .K57 2000
"This clear and accessible handbook introduces the nonspecialist to the physical examination of easel paintings and the historical and critical implications of such study. It takes the reader through the various layers of paintings, from support to varnish, and looks at information that might be attached to a painting's reverse, as well as the physical circumstances of its display. The authors demonstrate how this knowledge contributes to a wide range of historical and critical approaches, including iconography, regional and colonial studies, examination of artistic intent, interactions among artistic schools, and the history of collecting and exhibition. The book offers the only comprehensive discussion available on materials, techniques, and condition issues in Western easel paintings from medieval times to the present. It includes detailed case studies of twenty-five paintings by artists from Giotto and Leonardo to Vermeer, Degas, and Pollock. The extensive illustrations are drawn from more than forty-five international museums; the artists represented range from a Byzantine master and a Mexican colonial painter to living artists, including Helen Frankenthaler, Jacob Lawrence, and Robert Ryman. The book will fascinate and benefit beginning or advanced students of art history and their teachers, as well as painters, collectors, museum docents, and conservators. Those who have known paintings primarily from books, slides, and photographic reproductions will be exposed to a new dimension of their study." (source: Nielsen Book Data)
Techniques of painting
London : National Gallery Company ; [New Haven, Conn.] : Distributed by Yale University Press, 2011.
Art & Architecture Library (Bowes) » Stacks » ND1471 .K57 2011
"How do artists create different effects when painting? The medium they choose—such as oil, watercolor, or egg tempera—plays an important part. So too does the material they paint on, the pigments used, and even the type of brush. Using examples from the National Gallery Collection, Jo Kirby shows how a painting is made, and reveals the processes behind an array of fascinating techniques. With clear explanations and close-up photography, this book will help you see paintings with a fresh eye.  Jo Kirby works in the Scientific Department of the National Gallery, London, and is a world-renowned expert in pigments and paint materials" (publisher's description)

Painting -- Technique

  1. Bosch Research and Conservation Project ; Luuk Hoogstede, Ron Spronk, Robert G. Erdmann, Rik Klein Gotink, Matthijs Ilsink, Jos Koldeweij, Hanneke Nap, Daan Veldhuizen. 2016

  2. James D. Herbert. 2015

  3. edited by Lucy Davis and Mark Hallett. 2015

Conservation & provenance

Art conservation and restoration

Artists' pigments : a handbook of their history and characteristics
Cambridge [Cambridgeshire] ; New York : Cambridge University Press ; Washington : National Gallery of Art, c1986-
Art & Architecture Library (Bowes) » Stacks
"For the practicing artist, to learn a pigment's color, hiding power, lightfastness, toxicity, compatibility.  For the art historian, to know how an artist worked, what pigments were used, whether they were pure or mixed, opaque or transparent, layered or not.  For the conservator, to devise techniques necessary for the care and conservation of works of art, to determine what is original, to repair damages, to compensate for missing portions of a painted surface.  For the conservation scientist, to learn identification methods used, including optical microscopy, microchemical tests, X-ray diffraction, infrared and reflectance spectrophotometry, and electron microscopy." (publisher's description)
Table of contents:
  • Volume 1: Indian Yellow; Cobalt Yellow; Barium Sulfate - Natural and Synthetic; Cadmium Yellows, Oranges, and Reds; Red Lead and Minium; Green Earth; Zinc White; Chrome Yellow and Other Chromate Pigments; Lead Antimonate Yellow; Carmine. 
  • Volume 2: Azurite and Blue Verditer Ultramarine Blue; Natural and Artificial Lead; White Lead-Tin; Yellow Smalt Verdigris and Copper Resinate; Vermilion and Cinnabar; Malachite and Green; Verditer; Calcium Carbonate; Whites. 
  • Volume 3: Egyptian Blue; Orpiment and Realgar; Indigo and Woad; Madder and Alizarin; Gamboge; Vandyke Brown; Prussian Blue; Emerald Green and Scheele's Green; Chromium Oxide Greens; Titanium Dioxide Whites. 
  • Volume 4: Pigments Based on Carbon; Iron Oxide Pigments; Asphalt; Cobalt Blue; Arylide (Hansa) Yellow Pigments.
Conservation of paintings
Rev. and expanded ed. London : National Gallery Company ; [New Haven] : Distributed by Yale University Press, 2009.
Art & Architecture Library (Bowes) » Stacks » ND1630 .B66 2009
"The philosophy of modern conservation is different from that of previous eras: the emphasis now is on long-term stabilization by methods that alter the structure of a painting as little as possible. Nevertheless, if paintings are obscured by discolored varnishes and old repaints, they are cleaned, and this has often led to anxiety and debate as long-admired images are transformed. A Closer Look: Conservation of Paintings discusses the material nature of paintings and the ways that they have changed, both naturally and at the hands of previous restorers. It also describes the main types of conservation treatment carried out on panel and canvas paintings and some of the complex issues involved in cleaning and restoration." (publisher's description)
"In Artists’ Footsteps explores the technical study and reconstruction of Old Master paintings and pigments from the medieval to the modern period. The contributions from experts in the fields of technical art history and conservation reflect a broad spectrum of current research and investigation worldwide.  The authors address the making of historically informed reconstructions as a way of informing the conservation process, assisting in the training of conservators and understanding historical artistic processes. The undertaking of reconstructions, carried out in tandem with the study of artists’ treatises and historical sources, is further supported by the technical study of physical works of art - which is also explored in this volume." (publisher's description)
Mixing and matching : approaches to retouching paintings
London : Archetype Publications, 2010.
Art & Architecture Library (Bowes) » Stacks » ND1650 .M59 2010
"Methods of retouching, or inpainting, vary according to personal preference - the media, pigments and techniques used are each chosen to suit the individual object. A wealth of options is available to the practising conservator, many of which are covered in this volume. The history, development and method of application of each technique is discussed and illustrated, while additional papers explore practical and theoretical aspects of colour matching.  The three sections of this book (Egg tempera retouching, Resin retouching and Retouching complex surfaces) contain material presented at three separate workshops organised by the Paintings Group of the Institute of Conservation (Icon) and the British Association of Painting Conservators-Restorers (BAPCR) and held at the Courtauld Institute of Art, London." (publisher's description)
Painted wood : history and conservation
Los Angeles : Getty Conservation Institute, c1998.
Art & Architecture Library (Bowes) » Stacks » NK9604.5 .P35 1998 F
"The function of the painted wooden object ranges from the practical to the profound. These objects may perform utilitarian tasks, convey artistic whimsy, connote noble aspirations, and embody the highest spiritual expressions. This volume, illustrated in color throughout, presents the proceedings of a conference organized by the Wooden Artifacts Group of the American Institute for Conservation of Historic and Artistic Works (AIC) and held in November 1994 at the Colonial Williamsburg Foundation in Williamsburg, Virginia. The book includes 40 articles that explore the history and conservation of a wide range of painted wooden objects, from polychrome sculpture and altarpieces to carousel horses, tobacconist figures, Native American totems, Victorian garden furniture, French cabinets, architectural elements, and horse-drawn carriages." (publisher's description)
The structural conservation of panel paintings : proceedings of a symposium at the J. Paul Getty Museum, 24-28 April 1995
Los Angeles : Getty Conservation Institute, c1998.
Art & Architecture Library (Bowes) » Stacks » ND1640 .S87 1998 F
"This volume presents the proceedings of an international symposium organized by the Getty Conservation Institute and the J. Paul Getty Museum, April 24–28, 1995. The first conference of its kind in twenty years, the symposium assembled an international group of conservators of painted panels, and gave them the opportunity to discuss their philosophies and share their work methods.  Illustrated in color throughout, this volume presents thirty-one papers grouped into four topic areas: Wood Science and Technology, History of Panel-Manufacturing Techniques, History of the Structural Conservation of Panel Paintings, and Current Approaches to the Structural Conservation of Panel Paintings." (publisher's description)

Painting conservation books in the Art Library

Provenance

The AAM guide to provenance research
Washington, DC : American Association of Museums, c2001.
Art & Architecture Library (Bowes) » Stacks » N3999 .Y45 2001
"This guide is a comprehensive and authoritative resource for tracing the ownership history of works of art. Focused on cultural property looted by the Nazis and others during WWII, it is divided into three parts: Basic Provenance Research and Principles, Holocaust-Era Provenance Research, and Appendixes, which include bibliographies of collections, dealer archives, and "red flag names" compiled by the Office of Strategic Services. Includes an index and reproductions of artworks and relevant documents." (Publisher's description)

Provenance books in the Art Library

  1. edited by Gail Feigenbaum and Inge Reist. 2012

  2. Hermione Waterfield and J.C.H. King. 2009

  3. David P. Jackson ; with a contribution by Rob Linrothe. 2012

  4. Nancy H. Yeide, Konstantin Akinsha, Amy L. Walsh. 2001

  5. introductory essay with the artist, Robert Rosenblum ; essays, Wolfgang Becker ... [et al.].. 2004

Art forgeries

Papermaking

On paper : the everything of its two-thousand-year history
Art & Architecture Library (Bowes) » Stacks » Z247 .B34 2013
"A consideration of all things paper—its invention that revolutionized human civilization; its thousand-fold uses (and misuses), proliferation, and sweeping influence on society.  Nicholas Basbanes writes about paper, from its invention in China two thousand years ago to its ideal means, recording the thoughts of Islamic scholars and mathematicians that made the Middle East a center of intellectual energy; from Europe, by way of Spain in the twelfth century and Italy in the thirteenth at the time of the Renaissance, to North America and the rest of the inhabited world.   Basbanes writes about the ways in which paper has been used to record history, make laws, conduct business, and establish identities . . . He makes clear that without paper, modern hygienic practice would be unimaginable; that as currency, people will do almost anything to possess it . . . that the Industrial Revolution would never have happened without paper on which to draw designs and blueprints."  more  (publisher's description)

Find articles in databases

Santa Fe, N.M.: Deep Web Technologies
Stanford University Libraries » Online resource » eResource
xSearch enables Stanford students and researchers to search multiple resources at one time.  The 350+ resources in xSearch include abstracts and indexes, datasets, full-text ejournal and ebooks, funding opportunities, methods and protocols, patents, streaming media, technical reports, plus more.  A Chemical Safety Search site that includes 70+ resources is also available.
[New York] : Elsevier, 2004-
Stanford University Libraries » Online resource » eResource
"Updated daily, Scopus is the largest abstract and citation database of peer-reviewed literature. It also includes web sources, patents, articles in-press, book series, conference proceedings, and trade publications. Scopus provides international coverage of literature in science, technology, and medicine, and social sciences plus related content in the arts and humanities. 1996-present plus selected coverage back to 1823."
Stanford University Libraries » Online resource » eResource
Search over 12,000 core journals across the sciences, social sciences, and arts and humanities to find the high quality research. Move backward/forward in time using cited/citing reference identified by researchers. Updated weekly, includes Science Citation Index Expanded (1899-present), Social Sciences Citation Index (1898-present), Arts & Humanities Citation Index (1975-present), Conference Proceedings Citation Index- Science (1990-present), Conference Proceedings Citation Index- Social Science & Humanities (1990-present), Book Citation Index (2005-present), Index Chemicus (1993-present), and Current Chemical Reactions (1985-present; also includes Institut National de la Propriete Industrielle structure data back to 1840)). (Structure searching)