An Exploration of Art Materials: The Intersection of Art and Science

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"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.

"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 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 12SC

There is growing interest in the intersection of art and science, whether from artists adapting technology to suit their visions or from scientists and engineers seeking to explain various visual effects. To take advantage of possible creative sparks at the art/science interface, it is necessary for fuzzies and techies to have some knowledge of the language used by the other side. This interface will be explored through examining approaches used by an artist and an engineer in the context of the materials science of cultural objects. In-class lectures, hands-on studio practice, and field trips will be used to illustrate these different perspectives. At the heart of the scientific approach is the notion that a cultural object, e.g., a painting, is a physical entity comprising materials with different physical properties and different responses to environmental stresses presented by light, heat, and water. In support of this outlook, in-class lectures and discussions will focus on the basic concepts of color, optics, mechanics, composite structures, and response of the object to environmental stress, and we will visit Bay Area museums to see how artists employ such techniques. The hands-on studio experience is designed to increase students' confidence and develop their appreciation of differences in materials. It is not necessary to have any artistic training, only a willingness to experiment. The in-class studio projects will include working with line and shadow; color, binders, and mordants; global sources of pigments; substrates and writing; and material failure. Students will make one technical presentation on a topic in one of the five areas relevant to a painting: color, optics, mechanics, composites, and stress response. In addition, they will prepare one essay on the issues surrounding the intersection of art and science. Finally, they will complete a project related to one of the thematic areas covered in the hands-on studio sessions and make a final oral presentation describing their project.

Paleolithic palettes

"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)

"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)

"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

› See all 140 results

The cradle of humanity : prehistoric art and culture

Georges Bataille ; edited and introduced by Stuart Kendall ; translated by Michelle Kendall and Stuart Kendall. 2005
New perspectives on prehistoric art

edited by Günter Berghaus. 2004
Prehistoric art : the symbolic journey of mankind

Randall White. 2003

Cave paintings

› See all 95 results

The conservation of subterranean cultural heritage

editor, Cesareo Saiz-Jimenez, Instituto de Recursos Naturales y Agrobiologia, Consejo Superior de Investigaciones Cientificas (IRNAS-CSIC), Sevilla, Spain. 2014
Ajanta, handbook of the paintings. 1, Narrative wall paintings

Dieter Schlingloff. 2013
Beyond the ice : Creswell Crags and its place in a wider European context

Matthew Beresford. 2012

Rock paintings

› See all 236 results

The dawn of imagination : rock art in Africa

David Coulson and Alec Campbell. 2010
Rock art in Africa : mythology and legend

Jean-Loïc Le Quellec ; translated by Paul Bahn. 2004
Rock art research : moving into the twenty-first century

[edited by Shirley-Ann Pager].. 1997

Classical palettes

"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."

"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 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)

"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)

"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

› See all 44 results

A companion to ancient Egyptian art

edited by Melinda K. Hartwig. 2015
Ancient Egyptian art and architecture : a very short introduction

Christina Riggs. 2014
Ancient Egyptian art : systematic catalogue of the collection, North Carolina Museum of Art, Raleigh

Caroline M. Rocheleau. 2012

Art, Classical

› See all 91 results

The art of Greece and Rome

Susan Woodford. 2004
Classical art : from Greece to Rome

Mary Beard and John Henderson. 2001
Wissenschaft mit Enthusiasmus : Beiträge zu antiken Bildnissen und zur historischen Landeskunde : Klaus Fittschen gewidmet

herausgegeben von Johannes Bergemann. 2001

Medieval palettes

"'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.)

"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)

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.

"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"

"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 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)

Art, Medieval

› See all 564 results

Seeing medieval art

Herbert L. Kessler. 2004
Changing minds : communication and influence in the high and later Middle Ages

edited by Christian Krötzl & Miikka Tamminen. 2013
Materials, methods, and masterpieces of medieval art

Janetta Rebold Benton. 2009

Renaissance palettes

"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)

"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)

"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)

Art, Renaissance

› See all 819 results

Renaissance art : a beginner's guide

Tom Nichols. 2010
Renaissance

Christopher Masters. 2008
Grande atlante del Rinascimento

Stefano Zuffi. 2007

Painting -- 17th Century

› See all 436 results

Confronting the Golden Age : imitation and innovation in Dutch genre painting, 1680-1750

Junko Aono. 2015
Nicolas Poussin

Jacques Thuillier. 2015
Atti della giornata di studi Quesiti caravaggeschi

a cura di Pierluigi Carofano. 2014

Painting -- 16th Century

› See all 113 results

Lo specchio del Rinascimento : novità su Tiziano e Dosso che ritraggono Ariosto = The mirror of the Renaissance : new findings on Titian and Dosso portraying Ariosto

Marco Paoli : traduzione, Loretta Vandi. 2015
Art as history, history as art : Jheronimus Bosch and Pieter Bruegel the Elder : assembling knowledge, not setting puzzles

Stephen Graham Hitchins. 2014
Emotions : pain and pleasure in Dutch painting of the Golden Age

[essays, Gary Schwartz, Machiel Keestra ; other texts, Gary Schwartz, Jettie Rozemond, David Taylor ; Ann Demeester, foreword ; translation, Lynne Richards].. 2014

Painting -- 15th Century

› See all 36 results

Picturing the "pregnant" Magdalene in northern art, 1430-1550 : addressing and undressing the sinner-saint

Penny Howell Jolly, Skidmore College, USA.. 2014
German paintings in the Metropolitan Museum of Art, 1350-1600

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

[text, Margherita Pini].. 2012

Painting -- 14th Century

› See all 4 results

German paintings in the Metropolitan Museum of Art, 1350-1600

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

Stephan Kemperdick, Friso Lammertse. 2012
Devotion by design : Italian altarpieces before 1500

Scott Nethersole. 2011

Contemporary palettes

"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)

"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

› See all 3767 results

Abbiamo amato tanto la rivoluzione = We loved it so much, the revolution

Alfredo Jaar ; a cura di Claudia Gioia. 2013
Works from the Peggy Guggenheim Foundation
History of modern art : painting, sculpture, architecture, photography

H.H. Arnason, Elizabeth C. Mansfield, National Humanities Centre. 2013

Color & pigments

Color - Life sciences

"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)

In his foreword to Harvard neurobiologist Margaret Livingstone's groundbreaking Vision and Art, Nobel prize-winner David Hubel expresses the hope that, "In the future, visual neurobiology will enhance art in much the same way as a knowledge of bones and muscles has for centuries enhanced the ability of artists to portray the human body." The future begins with this book, which demonstrates that how we see art depends ultimately on the cells in our eyes and our brains. Livingstone offers a comprehensive account of the biology of vision, drawing on the history of science and her own cutting-edge discoveries. She explains lucidly how the eye and brain translate different wavelengths of light into the colors and forms of the world around us. She then turns to art and explains the science underlying various phenomena in painting, using many examples-from the mystery of the allure of the Mona Lisa to the amazing atmospheric effects of the Impressionists-to illustrate her points. Her book will arm artists 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

"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)

"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--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 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)

Materials & techniques

"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)

"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)

"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.

"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 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 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)

"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)

"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)

Artists' materials

› See all 156 results

Exploring studio materials : teaching creative art making to children

Mary Hafeli, Columbia University, Teachers College. 2015
The colors of the new world : artists, materials, and the creation of the Florentine codex

Diana Magaloni Kerpel. 2014
Full circle : works on paper by Richard Pousette-Dart

Innis Howe Shoemaker ; with an essay by Nancy Ash and Eliza Spaulding. 2014

Painting -- Technique

› See all 165 results

Joshua Reynolds : experiments in paint

edited by Lucy Davis and Mark Hallett. 2015
Local color : seeing place through watercolor : with 14 practices

Mimi Robinson. 2015
The work of art : plein-air painting and artistic identity in nineteenth-century France

Anthea Callen. 2015

Conservation & provenance

Art conservation and restoration

"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.

"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)

"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)

"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)

"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

› See all 66 results

The conservation of easel paintings

edited by Joyce Hill Stoner and Rebecca Rushfield. 2012
Conservation of paintings

David Bomford, with Jill Dunkerton and Martin Wyld. 2009
Manual on the conservation of paintings
Caring for old master paintings : their preservation and conservation

Matthew Moss. 1994
The ravished image : or, how to ruin masterpieces by restoration

Sarah Walden. 1985

Provenance

"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

› See all 199 results

Provenance : an alternate history of art

edited by Gail Feigenbaum and Inge Reist. 2012
Provenance : twelve collectors of ethnographic art in England, 1760-1990

Hermione Waterfield and J.C.H. King. 2009
The place of provenance : regional styles in Tibetan painting

David P. Jackson ; with a contribution by Rob Linrothe. 2012
The AAM guide to provenance research

Nancy H. Yeide, Konstantin Akinsha, Amy L. Walsh. 2001
Nature, the end of art : environmental landscapes, Alan Sonfist

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

Art forgeries

› See all 105 results

The Commissar vanishes : the falsification of photographs and art in Stalin's Russia : photographs and graphics from the David King collection

David King. 2014
Contemporary perspectives on the detection, investigation and prosecution of art crime : Australasian, European and North American perspectives

edited by Duncan Chappell, Saskia Hufnagel. 2014
Contemporary perspectives on the detection, investigation, and prosecution of art crime : Australasian, European, and North American perspectives

edited by Duncan Chappell (University of Sydney, Australia), Saskia Hufnagel (Queen Mary University of London, UK). 2014

Papermaking

"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)

Papermaking

› See all 324 results

Harold Innis's History of communications. Paper and printing. Antiquity to early modernity

edited by William J. Buxton, Michael R. Cheney, and Paul Heyer ; foreword by John Durham Peters. 2015
Papier im mittelalterlichen Europa : Herstellung und Gebrauch

herausgegeben von Carla Meyer, Sandra Schultz und Bernd Schneidmüller. 2015
Pulp and paper industry : chemicals

Pratima Bajpai, Pulp and paper, consultants, Patiala, Punjab, India. 2015
Pulp and paper industry : microbiological issues in papermaking

Pratima Bajpai, Pulp and paper, consultants, Patiala, Punjab, India. 2015
Saving the mill : the amazing recovery of one of Japan's largest paper mills following the 2011 earthquake and tsunami

Ryoko Sasa ; translated by Tony Gonzalez. 2015

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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)

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An Exploration of Art Materials: The Intersection of Art and Science

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