Digital imaging to unveil traditional craft methods
A case study of a Renaissance Flemish panel
DOI:
https://doi.org/10.7577/formakademisk.5400Keywords:
Art as craft, technical investigation, digital imaging, Master of the Female Half-Lengths, FlemishAbstract
To understand the creation and the function of a Flemish oil on panel, non-invasive technical investigations including UV, IRR, X-ray and µ-XRF have been used as a method to unveil its specific material features. The undated and unsigned panel has been attributed to The Master of the Female Half-Lengths possibly active during the early 16th Century, due to its stereotype motif, materials and dimensions. The analysis reveals that the panel has several damages due to natural and forced interventions. The painting process shows various inconsistencies, interpreted with the aid of literary sources as a product of a workshop adapted to producing art as a response to the great demand of Flemish panels from the blooming Early Dutch art market.
References
Bomford, David, Drayman-Weisser, Terry, Gifford, Melanie and McGlinchey, Chris. (2010). Art as Evidence : The Scientific Investigations of Works of Art. The Getty. https://www.getty.edu/conservation/publications_resources/videos/public_lecture_videos_audio/art_evidence.html (accessed: 2023-07-07).
Billinge, Rachel, Campbell, Lorne, Dunkerton, Jill, Foister, Susan, Kirby, Jo, Pilc, Jennie, Roy, Ashok, Spring, Marika & White, Raymond. (1997).Methods and materials of Northern European painting in the National Gallery, 1400-1550. National Gallery Technical Bulletin, 18.
Curry, Christina & Ghys, Bob. (2006). La peinture ancienne et ses procédés : copies, répliques et pastiches [Ancient painting and its processes: copies, replicas and pastiches]. In Marcq H. Verougstraete, Jacqueline Couvert, Roger Schoute, & Anne Dubois (Eds.), Design transfer in Pieter Brueghel the younger’s workshop: a step-by-step reconstruction based on technical examination of his paintings (pp. 196-207). Peeters publisher.
Hahr, August. (1905). Gammalflamsk konst i Uppsala universitets tafvelsamling [Old Flemish art in Uppsala University's panel collection]. In Studier tillägnade Henrik Schück på hans 50-årsdag den 2 november 1905 af vänner och lärljungar. Hugo Gebers förlag.
Izzo, Francesca Caterina, Kratter, Matilde, Nevin, Austin & Zendri, Elisabetta. (2021). A critical Review on the Analysis of Metal Soaps in Oil Paintings. Chemistry Open, 10, 904–921. https://chemistry-europe.onlinelibrary.wiley.com/doi/pdf/10.1002/open.202100166 (accessed: 23-05-24).
Kammerer, Paul, Lettner, Martin, Zolda, Ernestine & Sablatnig, Robert. (2006). Identification of drawing tools by classification of textural and boundary features of strokes. Pattern Recognition Letters, 28(6), 710-718. https://doi.org/10.1016/j.patrec.2006.08.003
Nicolaus, Knut. (2001). Handbok för Restaurering av målningar (Ulla-Märta Westerståhl, trans.) Könemann Verlagsgesellschaft.
Spring, Marika. (2017). New insights into the materials of fifteenth- and sixteenth-century Netherlandish paintings in the National Gallery, London. Heritage Science, 5(40). https://doi.org/10.1186/s40494-017-0152-3
Vergaras, Alejandro. (2007). Patinir Essays and Critical Catalogue. Museo Nacional del Prado.
Vermeylen, Filip. (2010). The Colour of Money: Dealing in Pigments Sixteenth Century Antwerpen. In Jo Kirby, Susie Nash, & Joanna Cannon. (2010). Trade in artists' materials : markets and commerce in Europe to 1700 (pp. 356-365). Archetype Publications. https://www.academia.edu/5438222/The_Colour_of_Money_Dealing_in_Pigments_in_Sixteenth-Century_Antwerp
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2023 Teresia Stroemgren
This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution 4.0 License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
- The author(s) must manage their economic reproduction rights to any third party.
- The journal makes no financial or other compensation for submissions, unless a separate agreement regarding this matter has been made with the author(s).
- The journal is obliged to archive the manuscript (including metadata) in its originally published digital form for at least a suitable amount of time in which the manuscript can be accessed via a long-term archive for digital material, such as in the Norwegian universities’ institutional archives within the framework of the NORA partnership.
Readers of the journal can print out the published manuscripts under the same conditions as apply to the reproduction of physical copies.
Cited by
