Technical Bulletin Volume 34

Technical Bulletin Volume 34

These articles were first published in print in October 2013 and have been made available to download for free from May 2014. This special edition is dedicated to the study of Titian’s technique up to around 1540. The footnotes and bibliography for the entire Bulletin have been placed in a single PDF for download.

Contents

Titian's Painting Technique to c.1540
Jill Dunkerton and Marika Spring, with contributions from Rachel Billinge, Kamilla Kalinina, Rachel Morrison, Gabriella Macaro, David Peggie and Ashok Roy
Read Abstract | PDF fileDownload article (PDF 11.3MB) |

Catalogue
All catalogue entries by Jill Dunkerton and Marika Spring, with contributions from Rachel Billinge, Kamilla Kalinina, Rachel Morrison, Gabriella Macaro, David Peggie and Ashok Roy
Read Abstract | PDF fileDownload cats 1-7 (PDF 12.4MB) | PDF fileDownload cats 8-13 (PDF 23.4MB) |

Cat. 1: The Flight into Egypt, c.1507. The State Hermitage Museum, St Petersburg
Cat. 2: Christ and the Adulteress and Head of a Man, c.1508–10. Glasgow Museums
Cat. 3: Rest on the Flight into Egypt, c.1508–9. The Most Hon. the Marquess of Bath, Longleat House, Warminster, Wiltshire
Cat. 4: The Holy Family with a Shepherd, c.1510 (NG 4)
Cat. 5: Portrait of Gerolamo (?) Barbarigo (‘The Man with a Quilted Sleeve’), c.1510 (NG 1944)
Cat. 6: Portrait of a Lady (‘La Schiavona’), c.1510–12 (NG 5385)
Cat. 7: Noli me Tangere, c.1514 (NG 270)
Cat. 8: Bacchus and Ariadne, 1520–3 (NG 35)
Cat. 9: Portrait of Girolamo Fracastoro, c.1528 (NG 3949)
Cat. 10: A Boy with a Bird, probably late 1520s (NG 933)
Cat. 11: The Virgin and Child with the Infant Saint John and a Female Saint or Donor (‘The Aldobrandini Madonna’), c.1532 (NG 635)
Cat. 12: The Music Lesson, c.1535 (NG 3)
Cat. 13: The Triumph of Love, c.1544–6. Ashmolean Museum, Oxford

Recovering Titian: The Cleaning and Restoration of Three Overlooked Canvas Paintings
Jill Dunkerton
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Notes and Bibliography

PDF fileDownload notes and bibliography (PDF 3.3MB)

All articles have been peer reviewed by specialists outside the National Gallery.

All contributors are members of the National Gallery’s curatorial, scientific or conservation departments, except Kamilla Kalinina, who is from the Laboratory for Technical Analysis, State Hermitage Museum, St Petersburg


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