págs. 1-9
Academy and workshop: medieval transmission of late antique knowledge
págs. 10-15
An elusive colorant: availability, preparation and use of anthocyanin colorants in European medieval illuminators' workshop
págs. 16-22
Paint in red: vermillion manufacture in the Middle Ages
págs. 23-30
págs. 31-39
"This they use in Madrid": the ground layer in paintings on canvas in 17th century Madrid
págs. 40-46
págs. 47-53
Materials for painting and gilding used in the Benedictine community of Portugal 1638-1822: other times, other ways
Agnés Le Gac, Paulo Oliveira, Isabel Dias Costa, Maria Joâo Costa Dias
págs. 54-74
págs. 76-85
Manufacturing techniques and the art of wax modelling: from the sculptor's studio to the anatomical workshop
págs. 86-94
págs. 95-101
págs. 102-108
Hans Heysen's art materials: an investigation into suppliers, knowledge and choice
págs. 109-116
págs. 117-122
págs. 123-124
Colour ConText: a database on colour practice and colour knowledge in pre-modern Europe
págs. 125-126
Four paintings from St Jerome's College, Coimbra, Portugal: conservation, technique and teatrises
Vanessa Antunes, Mercês Lorena, Vitor Serrão, Virgínia Gomes, María José Oliveira, Luís Dias, José Mirão, António Candeias, Ana Isabel Seruya, João Coroado
págs. 127-128
Glass and parchment with a view: oil paint and the imitation of (stained) glass windows 1400-1600
págs. 129-130
págs. 131-132
'A substance that serves all paints': interpreting a technical récipe from Sloane 345
págs. 133-134
"The Town": a sparkling 17th-century canvas painting
págs. 135-136
págs. 137-138
págs. 139-140
págs. 141-142
The working process of Francis Bacon: evidence from his studio, artworks and slashed canvases
Elke Cwiertnia, Justin J. Perry, Brian Singer, Joyce H. Townsend
págs. 143-144
"Slow Actions": transformative approach to documenting moving image installations
págs. 145-146
Dynamic art technological sources for contemporary works: the artist interview and the installation process
págs. 147-148
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