Studying Old Master Paintings - Technology and Practice

Studying Old Master Paintings - Technology and Practice

The National Gallery Technical Bulletin 30th Anniversary Conference

Date and time

16–18 September 2009

Programme overview

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Invited Speakers and Session Chairs

  • Bruno Brunetti, Dipartimento di Chimica and Centre SMAArt, University of Perugia
  • Andreas Burmester, Director, Doerner-Institut, Munich
  • Melanie Gifford, Research Conservator for Painting Technology, National Gallery of Art, Washington
  • Ella Hendriks, Head of Conservation, Van Gogh Museum, Amsterdam
  • Mark Leonard, Head of Paintings Conservation, J. Paul Getty Museum, Los Angeles
  • Michel Menu, Head of Research Department, Centre de Recherche et de Restauration des Musées de France (C2RMF), Paris


Presentations


Ackroyd, Paul; Carr, Dawson; Howard, Helen; Peggie, David; Tomlinson, Hayley
Murillo, 'Christ healing the Paralytic at the pool of Bethesda'

Aronson, Mark; Trumble, Angus; Cooper, Helen; DePhillips, Henry A.; Martin, James
Benjamin West and the Venetian Secret

Bandini, Fabrizio; Felici, Alberto; Frosinini, Cecilia; Lanfranchi, Mariarosa; Mariotti, Paola Ilaria; Lalli, Carlo Galliano
Technical Similarities between Mural painting and Panel painting in the works of Giovanni da Milano: The Rinuccini Chapel, Basilica of Santa Croce, Florence

Barry, Claire
Technical Study of the Altarpiece from the Cathedral at Ciudad Rodrigo by Fernando Gallego and his workshop

Bellucci, Roberto; Buzzegoli, Ezio
Michelangelo's 'Doni Tondo' investigated with non-invasive analytical techniques

Bellucci, Roberto; Frosinini, Cecilia; Pezzati, Luca; Contini, Roberto; Hartwieg, Babette
Caravaggio’s underdrawing: a “Quest for the Grail”?

Brett, Helen, Townsend, Joyce H.; Jones, Rica; Boon, Jaap; Keune, Katrien
‘I Can See No Vermilion in Flesh’: Sir Joshua Reynolds's portraits of Francis Beckford and Suzanna Beckford and his painting practice c.1755-6

Brunetti, Bruno; Miliani, C.; Cartechini, L.; Sgamellotti, A
Alterations in paintings: from the non-invasive in-situ assessment to the laboratory research

Bruquetas, Rocio; Kroustallis, Stafanos
Natural cinnabar production, commerce and use in Spain during XV-XVIII centuries: a documentary source research

Burmester, Andreas (chair); Schleif, Nina; Eibl, Melanie
Travels with Peter Paul Rubens's 'Last Judgement'

Christensen, Anne Haack
The Rosenborg Series 1618-1624: Painting techniques and painting materials supplied to the Royal Danish Court painters at the time of King Christian IV

Christensen, Carol; Palmer, Michael; Lomax, Suzanne; Wilcox, Steve
Neroccio's 'Virgin and Child with St Anthony Abbot and St Sigismund' at the National Gallery of Art, Washington

Ciatti, Marco; Bellucci, Roberto; Frosinini, Cecilia; Lucarelli, Linda; Sostegni, Luciano; Fracassi, Camilla;
The Paliotto by Guido da Siena from the Pinacoteca Nazionale of Siena

de Ridder, Willem; Wallert, Arie
The Science of Art: Technical examination of Paintings by Adriaen van der Werff

Dubois, Hélène; Fraiture, Pascale
Between Creativity and Economy: Remarks on Rubens's panel supports in the Royal Museums of Fine Arts in Brussels

Gifford, Melanie
Material as Metaphor

Grundmann, Gunter; Ivleva, Natalia; Richter, Mark; Stege, Heike; Haisch, Christoph
The rediscovery of sublimated arsenic sulphide pigments in painting and polychromy: applications of Raman microspectroscopy

Hale, Charlotte; Arslanoglu, Julie; Centeno, Silvia
Granacci in The Metropolitan Museum of Art; aspects of evolving workshop practice

Hendriks, Ella (chair); Jansen, Leo; Fiedler, Inge; Geldof, Muriel; van Bommel, Maarten; Megens, Luc; Johnson, C. Richard Jr.; Johnson, Don H.; Menu, Michel; Ravaud, Elizabeth; Salvant, Johanna;
A Comparative study of Vincent van Gogh’s Bedroom series

Hermens, Erma; MacDonal, Margaret; McConnell, Gail, Blatchford, David; Ormond, Devi; Wallert, Arie
James McNeill Whistler, fluidity, finish and accident

Jones, Rica; Townsend, Joyce; Einberg, Elizabeth; Belsey, Hugh
The discovery of an early conversation piece by Thomas Gainsborough

Keith, Larry; Morrison, Rachel; Roy, Ashok
'The Virgin of the Rocks' and the context of restoration

Kuniej Berry, C; Casadio, F.; Fiedler, I.; Mann, R.G.; Sanchez-Lassa, A.; Merino Gorospe, J.L
Multiplicity, authenticity and chronology: an integrated evaluation of five images of Saint Francis by El Greco

Leonard, Mark (chair); Namowicz, Carole; Woollett, Anne
Albrecht Altdorfer's 'Crucifixion' (Budapest Museum of Fine Arts)

M. Menu (chair); Amadori, M.L.; Eveno, M.; Itie, E.; Joseph, E.; R. Mazzeo; Prati, S.; Ravaud, E.; Scaillierez, C.; Sciutto, G.
The “Uomni Illustri” Portraits in the Studiolo of the Ducal Palace of Urbino

Mottin, Bruno
Leonardo da Vinci's 'The Virgin and Child with saint Anne' (Paris, Louvre): A new infrared reflectography

Munro, Janie; Sauerberg, Marie Louise
Action Speaks Louder Than Words – Thomas Couture as a teacher

Namowicz, Carole; Schmidt, Catherine M.; Sciacca, Christine; Szafran, Yvonne; Trentelman, Karen; Turner, Nancy
Painting on parchment and panels: An exploration of Pacino Di Bonaguida's technique

Poldi, Gianluca; Villa, Giovanni Carlo Federico
New examinations on Giovanni Bellini's Pesaro altarpiece. Novelties and comparisons with other Bellini works

Saunders, David; Griffiths, Anthony
Two 'mechanical' oil paintings after de Loutherbourg: history and technique

Topalova-Casadiego, Biljana; Plahter, Unn
Cadmium Yellow in 'The Scream' painted by Edward Munch

van Eikema Hommes, Margriet; Speleers, Lidwein
Nine muses in the Oranjezaal: Jan Lievens's and Caesar van Everdingen's painting methods confronted

van Loon, Annelies; Speleers, Lidweins
The Use of Blue and Green Verditer in Green Colours in Seventeenth-Century Netherlandish Painting Practice

Wadum, Jorgen; Monrad, Kasper; Scharff, Mikkel
Aspects of Christen Kobke's painting technique: from drawing via oil sketch to the final painting


Posters

Boon, Jaap; Filtenborg, Troels; Verhave, Johanneke
Surface condition and chemical reactivity of paints, related to the technique and former treatments of 'The Tribute Money' by Jacob Jordaens

Burnstock, Aviva; Cannon, Joanna; Campbell, Caroline; Nevin, Austin; Cox, Lauren; Hensick,Teri; Khandakhar, Narayan; Lie, Henry; Olivier, Katherine; Wolohojian, Stephan; Albertson, Rita ; Klausmeyer, Philip; Murray, Winifred; Strähle, Birgit; Megens, Luc; Van den Berg, Klass Jan; Bellucci, Roberto; Castelli, Ciro; Frosinini, Cecilia
Investigating a reconstructed altarpiece by the Master of the Fogg Pieta / Maestro di Figline

Ferreira, Ester S.B.; Boon, Jaap J.; van der Horst, Jerre; Marone, Frederica; Stampanoni, Marco
3D Synchrotron x-ray tomographic microscopy of paint samples

Gayo, Maria Dolores
Materials used on the ground layers of 16th- and 17th-century Spanish paintings

Hofmann, Mara
Raphael Research Resource

Jones, Rica; Keune, Katrien; Boon, Jaap; Townsend, Joyce
Microcissing, a form of drying crackle in British 18-century oil paintings

Kurella, Annette; Limmer, Cathrin; Baumer, Ursula; Dietemann, Patrick; Fiedler, Irene; Stege, Heike; Tilenschi, Cornelia
Between easel and wall painting? - Albrecht Altdorfer's painting fragments of the Regensburg bishop's court

González Mozo, Ana
Contribution to the digital image processing systems in the technical study of complex Old Master paintings 

Nadolny, Jilleen
All that’s Burnished isn’t Bole (nor from Armenia)

Noble, Petria; van Loon, Annelies
Holbein's blue backgrounds: meaning, materials and degradation

Romero, Rafael; Illán, Adelina
The use of ground siccative glass in Spanish Golden Age priming layers

Sanyova, Jana; Saverwyns, Steven; Fremout, Wim
A Surprising Ground Layer in Rembrandt's 'Portrait of Nicolaes van Bambeeck'

Sheldon, Libby
Combing, texturing and other hidden effects in paintings of the 16th and 17th century: purpose and perception

Verslype, Ige; Wallert, Arie
Re-defining Hendrick Avercamp: A study of the artist’s painting technique

 

Additional Papers included for publication in the Postprints (not presented)

Berrie, Barbara; Matthew, Louisa
Lead White in Venice: An interdisciplinary Investigation

Bruzzone, Raffaella; Galassi, Maria Clelia
Wooden species in Italian Panel Paintings (XV-XVI Centuries): Historical Investigation and Microscopical Wood Identification

Dietz, Stephanie
Studying the “Graue Passion” of Hans Holbein the Elder

Lammertse, Friso; Wallert, Arie; Wolters, Margreet
In search of the right colour. Colour notations on a late 16th-century Dutch painting

Richter, Mark
‘...verguldet oder versilbret und glasiert...' - techniques and artists' materials of coloured glazes on metal leaf in Germany, Austria and Switzerland (c.1500 – 1800)

Stols-Witlox, Maartje
Lead white terminology in North West European written sources from the 15th to the 19th century

van Duijn, Esther; Filedt Kok, Jan Piet; Vandivere, Abbie; Wallert, Arie; Wolters, Margreet
Developments in the underdrawing and painting technique of the sixteenth-century Leiden School, in particular the workshops of Cornelis Engelbrechtsz. And Lucas van Leyden

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Image at top: Detail from Sassetta, The Wolf of Gubbio, 1437-44


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