Enfilade

From Archetype Publications:

Helen Evans and Kimberley Muir, eds., Studying 18th-Century Paintings and Works of Art on Paper (London: Archetype Publications, 2015), 172 pages, ISBN: 978-1909492233, £45 / $95.

Pre-Publication Discount Price: £35 + postage when ordered using a Visa/MasterCard from Archetype’s London office by sending an email by 22nd September 2015 to info@archetype.co.uk

This is the second CATS Conference Proceedings with papers from the international conference Technology & Practice: Studying 18th-Century Paintings & Art on Paper. The conference was organised by CATS in collaboration with Helsinki Metropolia University of Applied Science in Helsinki, Finland; Nationalmuseum in Stockholm, Sweden; and University of Oslo, Norway. The conference focused on artists’ techniques and materials, source research, conservation science, the history of science and technology, trade and pharmacy during the 18th century. Speakers explored tradition and changes in artistic practices in the light of the establishment of a series of national Art Academies in Europe throughout the century. Papers include topics such as workshop practice and materials, art historical and technical approaches to documentary evidence and technical examination and the analysis of paintings and drawings. Also issues of trade, supply and questions concerning the demand for materials for diverse artistic expressions are analysed and discussed.

C O N T E N T S

Foreword
• Mikkel Bogh, Discipline and wonder: The 18th-century art academy and the invention of the artist as a free practitioner
• Loa Ludvigsen, Mikala Bagge and Vibeke Rask, The effect of Prussian blue on the technique of the Danish court painters Hendrik Krock and Benoît le Coffre
• Carol Pottasch, Susan Smelt and Ralph Haswell, Breaking new ground: Investigating Pellegrini’s use of ground in the Golden Room of the Mauritshuis,
• Leila Sauvage and Cécile Gombaud, Liotard’s pastels: Techniques of an 18th-century pastellist
• Tine Louise Slotsgaard, An investigation of the painting technique in portraits by Jens Juel
• Andreas Burmester and Stefanie Correll, 72 florin for colours, white and glue: The Tiepolos, the Veninos and Würzburg
• Piet Bakker, Margriet van Eikema Hommes and Katrien Keune, The coarse painter and his position in 17th- and 18th-century Dutch decorative painting
• Ige Verslype, Johanneke Verhave, Susan Smelt, Katrien Keune, Hinke Sigmond and Margriet van Eikema Hommes, A ‘painted chamber’ in Beverwijk by Jacobus Luberti Augustini: Novel insights into the working methods and painting practices in a painted wall-hanging factory
• Clara de la Peña Mc Tigue, 18th-century practices in the art academies in Spain: The use of paper in prints and drawings
• Ingelise Nielsen and Niels Borring, Nicolai Abildgaard: An 18th-century Danish artist and his paper
• Niels Borring, Semi-mechanical transfer methods in Nicolai Abildgaard’s drawings
• Troels Filtenborg, Canvas supports in paintings by Nicolai Abildgaard: Fabrics and formats
• Alexandra Gent, Rachel Morrison and Nelly von Aderkas, ‘1st olio after Capivi’: Copaiba balsam in the paintings of Sir Joshua Reynolds
• Richard Mulholland, Ferdinand Bauer’s Flora Graeca colour code