Hostname: page-component-586b7cd67f-l7hp2 Total loading time: 0 Render date: 2024-11-29T07:41:27.787Z Has data issue: false hasContentIssue false

New Materials on the Renaissance Artists' Palette

Published online by Cambridge University Press:  01 February 2011

Barbara H. Berrie
Affiliation:
Scientific Research Dept., National Gallery of Art, Washington, DC 20565
Louisa C. Matthew
Affiliation:
Dept. of Visual Arts, Union College, Schenectady, NY 12308
Get access

Abstract

In the light of new documentary information regarding the range of materials available to sixteenth century artists, cross sections from paintings were re-examined using scanning electron microscopy - energy dispersive spectrometry. Among a variety of new materials, colored glassy pigments were found including diverse yellow glassy particles, specifically lead silicate and a glass colored by lead antimonate. These are the “yellow smalts” described in Renaissance writings on artists’ materials.

Type
Research Article
Copyright
Copyright © Materials Research Society 2005

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES

1. Kühn, H., in Artists’ Pigments: A Handbook of Their History and Characteristics, vol. 2, edited by Roy, A. (National Gallery of Art, Washington, 1993), pp. 83112.Google Scholar
2. Mühlethaler, B. and Thissen, J., in Artists’ Pigments: A Handbook of Their History and Characteristics, vol. 2, edited by Roy, A. (National Gallery of Art, Washington, 1993), pp. 113130.Google Scholar
3. Spring, M., in The Painting Technique of Pietro Vanucci, called Il Perugino, edited by Brunetti, B.G., Seccaroni, C., and Sgamellotti, A. (Kermesquaderni, Nardini, Florence) 2003, pp. 2128;Google Scholar
Martin, E. and Rioux, J. P., in The Painting Technique of Pietro Vanucci, called Il Perugino, edited by Brunetti, B.G., Seccaroni, C., and Sgamellotti, A. (Kermesquaderni, Nardini, Florence) 2003, pp. 4356;Google Scholar
Tucker, M., Passeri, I., Sutherland, K. and Price, B.A., in Pontormo, Bronzino, and the Medici: The Transformation of the Renaissance Portrait in Florence, edited by Strehlke, C. (Philadelphia Museum of Art, Philadelphia, 2004), p. 46;Google Scholar
Spring, M. and Plazzotta, C., National Gallery Technical Bulletin, 25, 24 (2004).Google Scholar
4. Merrifield, M.P., Medieval and Renaissance Treatises on the Arts of Painting (Dover Reprint, Mineola, 1967).Google Scholar
5. Venturi, A., I due Dossi documenti, Prima Serie, Archivio Storica dell'Arte, 1892. p. 441 Google Scholar
6. Part of this work was presented at the Arthur M. Sackler Colloquium, March 19–21, 2003, National Academy of Sciences (forthcoming).Google Scholar
7. Merrett, C., The World's Most Famous Book on Glassmaking: The Art of Glass by Antonio Neri, (1612), 1662. Republished and edited by Cable, M. (The Society of Glass Technology, Sheffield, 2003).Google Scholar
8. Zecchin, L., Vetro e Vetrai in Murano, vols. 1–3, (Arsenale, Venice, 1987, 1989, 1990).Google Scholar
9. Booth, J.C. and Morfit, C., Encyclopedia of Chemistry, (Henry Carey Baird, Philadelphia, 1872), p. 760.Google Scholar
10. Piccolpasso, C., I tre libri dell'arte del vasaio, (1558) translated by Lightbrown, R.W. and Caiger-Smith, A. (Scolar Press, London, 1980) vols. 1 and 2. For recipes for yellow glazes that contain antimony see vol. 2 p. 6263.Google Scholar
11. Dunkerton, J., Penny, N., and Roy, A., National Gallery Technical Bulletin, 19, 5263, (1997).Google Scholar
12. Borghini, R., Il Riposo, vol. 1 (Milan, 1807), p. 244.Google Scholar
13. Piccolpasso, C., op. cit, vol. 2 p. 64;Google Scholar
Moretti, C. and Toninato, T., in Ricette vetrarie del Rinascimento, (Venice, Marsilio, 2001) p. 94.Google Scholar
14. Faidutti, M. and Versini, C., Le Manuscrit de Turquet de Mayerne, (Audin, Lyons, 1974) p. 102.Google Scholar
15. Matthew, L.C., The Burlington Magazine, No. 1196 vol. CXLIV, 680686, (2002).Google Scholar