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8 articles
Article
Titian’s ‘music piece’ re-emerges at the National Gallery, London
10/2013 | 1327 | 155
Pages: 665-676
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Author:
Dunkerton, Jill (Dunkerton, Jill)
Subjects
artists:
Titian
dates:
1520-1539
museums and institutions:
National Gallery, London, Great Britain
subjects:
Italian painting / Collections, Public / Provenance / Technical analysis / Scientific analysis / Conservation / Concert / Musicians
Illustrations
Attributed works:
10. Detail of the back of the canvas of Fig. 7, photographed following the removal of the old lining and showing the brand of Charles I of England
Attributed works:
11. Fig. 7 before treatment (with cleaning tests)
Attributed works:
12. Paint cross section from the brown background showing several layers of old varnish and a later of repaint over two layers of original paint (the gesso and imprimitura are missing from this part of the sample)
Attributed works:
13. X-radiograph of Fig. 7
Attributed works:
14. Infra-red reflectogram detail of Fig. 7
Attributed works:
15. Detail of The Presentation in the Temple, by Titan (Galleria dell'Accademia, Venice; courtesy of the Ministero per i Beni e le attività Culturali, Soprintendenza Speciale per il Polo Museale Veneziano)
Attributed works:
16. Detail of Fig. 7
Attributed works:
17. Detail of Fig. 7
Attributed works:
18. Detail of Portrait of a young woman, by Titian (Gallerie Nazionali di Capodimonte, Naples)
Attributed works:
19. Detail of The supper at Emmaus, by Titian (Musée du Louvre, Paris)
Attributed works:
20. Detail of Fig. 7
Attributed works:
21. Detail of The supper at Emmaus, by Titian (Musée du Louvre, Paris)
Attributed works:
22. Pages showing the alto part of three madrigals from Il primo libro de madrigali by Philippe Verdelot in the second 1537 edition, published by Ottaviano Scotto with woodblocks cut by Andrea Antico (Biblioteca Liceo Musicale, Bologna)
Attributed works:
23. Title page to Canzoni Nove con alcune scelti di varii libri di canto, published by Andrea Antico, Rome 1510 (University Library, Basel)
Attributed works:
24. The three ages of Man, by Giorgione (Galleria Palatina, Palazzo Pitti, Florence; photograph courtesy of the Ministero dei Beni e delle attività culturali, Florence)
Attributed works:
25. The interrupted concert, by Titian (Galleria Palatina, Palazzo Pitti, Florence; photograph Scala, Florence, courtesy of the Ministero dei Beni e delle attività culturali, Florence)
Attributed works:
26. Bass viol, by Ventura di Francesco Linarolo (Vasquez Collection, Orpheon Foundation, Vienna)
Attributed works:
27. Two arcadian musicians in a landscape, by Titian (British Museum, London)
Attributed works:
7. The music lesson (previously 'A concert'), by Titian. After treatment (National Gallery, London)
Attributed works:
8. The music lesson, by Hendrick Danckerts after Titian (Rijksprentenkabinet, Rijksmuseum, Amsterdam)
Attributed works:
9. The music lesson, by Johannes Gronsveld after Titian (Rijksprentenkabinet, Rijksmuseum, Amsterdam)
Article
A portrait of ‘Girolamo Fracastoro’ by Titian in the National Gallery
01/2013 | 1318 | 150
Pages: 4-15
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Author:
Dunkerton, Jill (Dunkerton, Jill)
Author:
Fletcher, Jennifer (Fletcher, Jennifer; Fletcher, J. M.; Fletcher, Jennifer M.)
Author:
Joannides, Paul (Joannides, Paul; J., P.; Joannides, P. E. A.)
Subjects
artists:
Titian
dates:
1520-1539
museums and institutions:
National Gallery, London, Great Britain
patrons:
Fracastoro, Girolamo, 1478-1553
subjects:
Italian painting / Portraits / Half-length portraits / Sitters / Collections, Public / Provenance / Technical analysis / Scientific analysis / Underdrawings / Restoration (process)
Illustrations
Attributed works:
1. Portrait of Girolamo Fracastoro, by Titian (National Gallery, London)
Attributed works:
10. Detail of lynx fur in Fig. 1
Attributed works:
11. Lynx showing in winter fur
Attributed works:
12. Portrait of Andrea Navagero and Agostino Beazzano, by Raphael (Galleria Doria Pamphilij, Rome)
Attributed works:
14. Portrait of Girolamo Fracastoro, by Tobias Stimmer after Francesco Torbido. Woodcut. From N. Reusner: Icones sive imagines, Basel 1589, p.2 (Wellcome Library, London)
Attributed works:
15. Portrait of Girolamo Fracastoro, by Giovanni da Cavino. Bronze (Museo Bottacin, Civici Musei, Padua)
Attributed works:
16. Portrait of Girolamo Fracastoro by Giulio della Torre. Bronze (Museo Correr, Venice)
Attributed works:
17. Portrait of Girolamo Fracastoro, by Danese Cattaneo. Marble (Piazza dei Signori, Verona)
Attributed works:
18. Reproduction of the Portrait of Tommaso Mosti, by Titian. Plate LXI from W. Suida: Tiziano, Rome [1933]
Attributed works:
19. Reproductions of the Portrait of Gian Paolo da Ponte and Portrait of Girolamo Fracastoro, by Titian. Plate LX, from W. Suida: Tiziano, Rome [1933]
Attributed works:
2. Fig. 1 before treatment
Attributed works:
20. Portrait of Gian Paolo da Ponte, by Titian (Scarpa collection, Venice)
Attributed works:
3. X-radiograph of Fig. 1
Attributed works:
4. Portrait of Gerolamo(?) Barbarigo, by Titian (National Gallery, London)
Attributed works:
5. X-radiograph of Fig. 4
Attributed works:
6. Fig. 1 after cleaning and relining, before retouching
Attributed works:
7. Detail of fur in seam and pentimento in Fig. 1
Attributed works:
8. Digital infra-red reflectogram of the sleeve in Fig. 1, after cleaning and before restoration
Attributed works:
9. Digital infra-red reflectogram of the sleeve in Fig. 4
Western art unattributed:
13. Portrait of Girolamo Fracastoro. Woodcut. Frontispiece to G. Fracastoro: Homocentricorum sive de stellis, Venice 1535.
Article
Andrea del Verrocchio’s first surviving panel painting and other early works
06/2011 | 1299 | 153
Pages: 368-378
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Author:
Dunkerton, Jill (Dunkerton, Jill)
Author:
Syson, Luke (Syson, Luke)
Subjects
artists:
Verrocchio, Andrea del
dates:
1460-1469
museums and institutions:
National Gallery, London, Great Britain
print:
Verrocchio, Andrea del
subjects:
Italian painting / Panel paintings / Collections, Public / Conservation / Restoration (process) / Provenance / Formal analysis / Scientific analysis / Technical analysis / Attribution / Attributions, tentative
Illustrations
Attributed works:
1. Fig.2 before cleaning.
Attributed works:
10. Detail of David, by Andrea del Verrocchio. Mid-1460s. Bronze, with gilding, 126 cm. high. (Museo Nazionale del Bargello, Florence).
Attributed works:
11. Detail of the left hand of David, by Andrea del Verrocchio.
Attributed works:
12. Detail of palm trees from the right of the Resurrection of Christ, by Andrea del Verrocchio. 1460s. Polychromed terracotta, 135 by 150 cm. (Museo Nazionale del Bargello, Florence).
Attributed works:
13. Study for Faith, by Andrea del Verrocchio. 1469. Metalpoint, black chalk, brown wash, white heightening and brown ink on pink tinted paper, 21.6 by 15 cm. (Gabinetto dei Disegni e delle Stampe, Galleria degli Uffizi, Florence).
Attributed works:
14. Study for a Virgin lactans, by Andrea del Verrocchio. c.1470. Charcoal and black chalk on paper, 28.3 by 19.3 cm. (Gabinetto dei Disegni e delle Stampe, Galleria degli Uffizi, Florence).
Attributed works:
16. Head of a man (Verrocchio’s self-portrait perhaps?), here attributed to Andrea del Verrocchio. c.1467–69. Metalpoint, brown ink and white heightening on paper (with added grey-brown background wash), 19.2 by 17.5 cm. (Gabinetto dei Disegni e delle Stampe, Galleria degli Uffizi, Florence).
Attributed works:
17. Detail of Fig.16.
Attributed works:
17. Detail of Fig.16.
Attributed works:
18. Detail of Fig.2.
Attributed works:
19. Virgin and Child, by Andrea del Verrocchio. c.1470. Tempera on panel, 67.3 by 49.4 cm. (Gemäldegalerie, Staatliche Museen, Berlin).
Attributed works:
2. The Virgin and Child with two angels, after cleaning and restoration, here attributed to Andrea del Verrocchio. c.1467–69. Tempera on wood, 69.2 by 49.8 cm. (National Gallery, London).
Attributed works:
20. Detail of the head of St John the Baptist, from the Baptism of Christ, by Andrea del Verrocchio and workshop, completed by Leonardo da Vinci. c.1468–76. Tempera and oil on panel, 180 by 152.5 cm. (Galleria degli Uffizi, Florence).
Attributed works:
21. Detail of the hand of St John the Baptist, from the Baptism of Christ, by Andrea del Verrocchio and others.
Attributed works:
3. The Virgin and Child with two angels, by Sandro Botticelli. 1469–70. Tempera on wood, 100 by 71 cm. (Museo Nazionale di Capodimonte, Naples).
Attributed works:
4. ‘Choral dancers’ relief from the cantoria for Florence Cathedral, by Luca della Robbia. 1431–38. Marble, 99 by 95 cm. (Museo dell’Opera del Duomo, Florence).
Attributed works:
5. Virgin and Child with two angels, by Filippo Lippi. c.1460–65. Tempera on wood, 92 by 63 cm. (Galleria degli Uffizi, Florence).
Attributed works:
6. Detail of Fig.2.
Attributed works:
7. Detail of Fig.2.
Attributed works:
8. Digital infra-red reflectogram of Fig.2.
Attributed works:
9. X-radiograph of Fig.2.
Western art unattributed:
15. Frontispiece to the Life of Andrea del Verrocchio. Woodcut, 12.4 by 10.6 cm. From G. Vasari: Le vite de’ più eccellenti pittori scultori e architettori . . . , Florence 1568.
Article
Titian’s ‘Triumph of Love’
08/2009 | 1277 | 151
Pages: 536-542
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Author:
Dunkerton, Jill (Dunkerton, Jill)
Author:
Whistler, Catherine (Whistler, Catherine; Whistler, Caroline)
Subjects
artists:
Titian
collectors and dealers:
Vendramin, Andrea, Venetian art collector, 1565-1629
dates:
1520-1549
museums and institutions:
Ashmolean Museum, Oxford, Great Britain
print:
Titian
subjects:
Italian painting / Collections, Public / Conservation / Restoration (process) / Acquisitions / Attribution / Attributions / Provenance / Composition (artistic arrangement) / Inventories
subjects:
Cupid
Illustrations
Attributed works:
34. Triumph of Love, by Titian. c.1544–46. Canvas, diameter 88.3 cm., after cleaning and restoration. (Ashmolean Museum, Oxford).
Attributed works:
35. Digital infra-red reflectogram of Fig.34, after cleaning, before restoration.
Attributed works:
36. Detail of an infra-red photograph of The Vendramin family, by Titian and workshop. Early 1540s. (National Gallery, London).
Attributed works:
37. Detail of the Cupid in Danaë, by Titian. c.1544–46. (Gallerie Nazionali di Capodimonte, Naples).
Attributed works:
38. Venus at her bath, copy in reverse after Marcantonio Raimondi. c.1510–27. Engraving, 16.4 by 13.3 cm. (Ashmolean Museum, Oxford).
Attributed works:
40. Fig.34, before cleaning.
Attributed works:
41. Reconstruction of the original format of Fig.34.
Western art unattributed:
39. Putto, Padua or Ravenna. c.1510–30. Bronze, 9.8 cm. high. (Ashmolean Museum, Oxford).
Publication Received
Beyond the naked eye: Details from the National Gallery
09/2006 | 1242 | 148
Pages: 638
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Reviewer:
Martineau, Jane (Martineau, Jane; Martineau, Jane; M., J.T.)
Subjects
museums and institutions:
National Gallery, London, Great Britain
print:
Collections, Public / London / National Gallery, London, Great Britain
subjects:
Collections, Public / Macrophotographs / Paintings
subjects:
Scientific analysis
Reviewed Items
subjects:
Beyond the naked eye: Details from the National Gallery | author: Billinge, Rachel , author: Dunkerton, Jill
Short Notice
The altered background of Raphael's 'Portrait of Pope Julius II' in the National Gallery
11/2004 | 1220 | 146
Pages: 757-760
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Author:
Dunkerton, Jill (Dunkerton, Jill)
Author:
Roy, Ashok (Roy, Ashok)
Subjects
artists:
Raphael
dates:
1480-1519
museums and institutions:
National Gallery, London, Great Britain
places:
Italy / Rome
print:
Raphael
subjects:
Julius II, Pope, 1443-1513
subjects:
Italian painting / Portraits / Conservation
Illustrations
Attributed works:
60. Portrait of Pope Julius II, by Raphael. 1511. Panel, 108 by 80.7 cm. (National Gallery, London).
Attributed works:
61. X-radiograph of Fig.60. [Portrait of Pope Julius II, by Raphael. 1511. Panel, 108 by 80.7 cm. (National Gallery, London).]
Attributed works:
62. Top to bottom: a. Paint cross-section from Julius II's red mozzetta consisting of two layers of orange-red and orange-brown opaque paint, with a thick layer of red lake glaze on top. The lowest mid-brownish grey layer is the imprimitura over the gesso ground and is therefore not part of the design layers. No gesso is present in this sample. Original magnification, 400x. b. Paint cross-section from the light ovoid shape visible in the X-radiograph (Fig.61) at the right edge. The sequence of layers is: gesso ground; mid-brownish grey imprimitura; pale blue consisting of lead white and a little azurite (this layer registers most strongly in the X-ray image); sequence of green layers of the present green background. Original magnification, 250x. c. Paint cross-section from the background right-hand edge, from a point between the motifs in the earlier version of the blue and yellow design. The sequence of layers is: gesso ground; mid-brownish imprimitura; mid-blue layer of background between motifs, consisting of azurite with lead white, in which a higher proportion of azurite is present than illustrated at Fig.62b above; sequence of green layers of the present green background. Original magnification, 275x. d. Paint cross-section from concealed papal tiara, upper-right corner. The sequence of layers is: gesso ground; mid-brownish imprimitura; golden-yellow paint of the crown of the tiara (largely yellow ochre, with small proportions of lead white and red lake); sequence of green layers of present green background. Original magnification, 320x.
Attributed works:
63. Diagrammatic reconstruction of the first patterned background (drawn digitally by Rachel Billinge, Rausing Research Fellow at the National Gallery, London).
Article
A Famous Gossaert Rediscovered
03/1996 | 1116 | 138
Pages: 164-173
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Author:
Campbell, Lorne (Campbell, Lorne; C., L.)
Author:
Dunkerton, Jill (Dunkerton, Jill)
Subjects
artists:
Gossaert, Jan
dates:
1500-1599
museums and institutions:
National Gallery, London, Great Britain
places:
Netherlands / Flanders / England / London
subjects:
Netherlandish painting / Attributions
subjects:
Mary, Virgin
Illustrations
Attributed works:
1. Virgin and Child, by Jan Gossaert, before Cleaning. Panel, 30.7 by 24.3 cm. (National Gallery, London). See Also Fig.11.
Attributed works:
10. The London Virgin and Child after Cleaning and before Restoration.
Attributed works:
11. Virgin and Child, Here Attributed to Jan Gossaert, after Cleaning and Restoration. Panel, 30.7 by 24.3 cm. (National Gallery, London).
Attributed works:
12. Photomicrograph of the Top Surface of the Virgin's Purple Dress, Showing Red Lake, Lead White and Splintered Black Particles Characteristic of Charcoal. A Few Particles of Azurite Are Also Included.
Attributed works:
13. Photomicrograph of the Top Surface of the Shadowed Part of the Virgin's Sleeve, Showing Particles of Azurite Surrounded by Discoloured Medium, with Some Particles of Red Lake.
Attributed works:
14. Macrophotograph of a Detail of the Virgin's Dress.
Attributed works:
15. Detail of the Child's Head in the London Virgin and Child.
Attributed works:
16. Detail of the Child's Head in the Munich Virgin and Child.
Attributed works:
17. Infra-Red Reflectogram of the Child in the Munich Virgin and Child.
Attributed works:
18. Infra-Red Reflectogram of Virgin's Drapery in the Munich Virgin and Child, Showing a Detail of the Drapery.
Attributed works:
19. Infra-Red Reflectogram of the Child in the London Virgin and Child.
Attributed works:
2. Virgin and Child, by Crispijn de Passe the Elder, after Jan Gossaert. 1589. Engraving, 31.7 by 23.4 cm. (Rijksmuseum, Amsterdam).
Attributed works:
20. Infra-Red Photograph (Detail) of Fig.21. [A Man with a Rosary, by Jan Gossaert. Panel, 68.6 by 48.9 cm. (National Gallery, London).]
Attributed works:
21. A Man with a Rosary, by Jan Gossaert. Panel, 68.6 by 48.9 cm. (National Gallery, London).
Attributed works:
23. Infra-Red Reflectogram of the Architecture in the Background of the London Virgin and Child.
Attributed works:
3. Virgin and Child, after Jan Gossaert. 1527. Panel, 30 by 24 cm. (Alte Pinakothek, Munich).
Attributed works:
5. X-Radiograph of the London Virgin and Child.
Attributed works:
6. The London Virgin and Child Photographed under Ultra-Violet Illumination during Cleaning.
Attributed works:
7. Cross-Section from the Virgin's Red Mantle, Showing: Chalk Ground, Pink-Grey Priming of Lead-White, Charcoal and Vermilion, Followed by the Original Paint, Vermilion, Red Lake, Lead-White and a Thin Glaze of Red Lake. Then the 19th-Century Additions: Varnish, Layer with Red Lake (Madder) and Two More Layers of Varnish.
Attributed works:
8. The Same Paint Cross-Section as in Fig.7, but under Ultra-Violet Light: The Original Glaze Shows a Pinkish Fluorescence; Particles of Presumed Madder Show a More Orange Fluorescence. The Varnish Layers All Exhibit a Greenish-Yellow Fluorescence.
Attributed works:
9. Detail of the London Virgin and Child during Cleaning.
Western art unattributed:
4. Virgin and Child, after Jan Gossaert. Panel, 30 by 25 cm. (Kunsthistorisches Museum, Vienna).
Short Notice
The Cleaning and Technique of Two Paintings by Sassoferrato
04/1986 | 997 | 128
Pages: 282+284-289+291
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Author:
Dunkerton, Jill (Dunkerton, Jill)
Subjects
artists:
Sassoferrato
dates:
1600-1699
museums and institutions:
National Gallery, London, Great Britain
places:
Italy / England / London
subjects:
Conservation / Technical analysis
subjects:
Italian painting
Illustrations
Attributed works:
34. The Virgin and Child Embracing, by Sassoferrato. 97.2 by 74 cm. After Cleaning and Restoration. (National Gallery).
Attributed works:
35. The Virgin in Prayer, by Sassoferrato. During Cleaning. (National Gallery).
Attributed works:
36. The Virgin and Child Embracing, by Sassoferrato. During Cleaning (National Gallery).
Attributed works:
37. The Virgin in Prayer, by Sassoferrato. 73 by 57.7 cm. After Cleaning and Restoration (National Gallery).
Attributed works:
38. The Virgin and Child Embracing. Photomicrograph of a Cross-Section of a Paint Sample Taken from the Virgin's Robe before Cleaning. The Ground Is the Lowest Layer.
Attributed works:
39. The Virgin in Prayer. Photomicrograph of Paint Cross-Section Taken from a Highlight of the Blue Robe (Sample Taken after Cleaning).
Attributed works:
40. The Virgin in Prayer. Photomicrograph of Paint Cross-Section Taken from a Shadow of the Blue Robe (Sample Taken after Cleaning).
Attributed works:
41. The Virgin in Prayer. Photomicrograph of a Paint Cross-Section from the Red Robe (Sample Taken after Cleaning).
Attributed works:
42. The Virgin in Prayer, by Sassoferrato. After Cleaning, before Restoration. (National Gallery).
Attributed works:
43. The Virgin and Child Embracing, by Sassoferrato. After Cleaning, before Restoration. (National Gallery).
Attributed works:
44. The Virgin in Prayer, by Sassoferrato. X-Radiograph. (National Gallery).
Attributed works:
45. The Virgin and Child Embracing, by Sassoferrato. X-Radiograph. The White Mark on the Parapet near the Right Edge Is Caused by a Red Wax Seal on the Stretcher. That above the Virgin's Head Is from a Number or Monogram (?) Painted on the Back of the Canvas Using X-Ray Opaque Pigments, (See Fig.48). (National Gallery).
Attributed works:
46. Detail from Fig.34. [The Virgin and Child Embracing, by Sassoferrato. 97.2 by 74 cm. After Cleaning and Restoration. (National Gallery).]
Attributed works:
47. The Virgin in Prayer, by Sassoferrato. Infra-Red Photograph, before Cleaning. (National Gallery).
Attributed works:
48. The Virgin and Child Embracing, by Sassoferrato. Detail of the Back of the Original Canvas (After Removal of the Old Lining Canvas, before Relining). The Number or Monogram (?) Shows up as White in the X-Radiograph, (See Fig.45). (National Gallery).
Attributed works:
49. The Virgin in Prayer, by Sassoferrato. Fragments of the Protective Facing Paper Used When the Painting Was Transferred in the Late Eighteenth or Early Nineteenth Century. (National Gallery).