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3 articles
Article
'Amber Varnish' and Orazio Gentileschi's 'Lot and His Daughters'
01/2001 | 1174 | 143
Pages: 4-10
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related names
Author:
Carr, Dawson W. (Carr, Dawson W.; Carr, Dawson)
Author:
Khandekar, Narayan (Khandekar, Narayan)
Author:
Leonard, Mark (Leonard, Mark)
Subjects
artists:
Gentileschi, Orazio
dates:
1600-1699
museums and institutions:
J. Paul Getty Museum, Los Angeles, United States
places:
Italy
subjects:
Italian painting / Conservation / Varnish
subjects:
Lot and his daughters
subjects:
Technical analysis / Attributions
Illustrations
Attributed works:
1. Lot and His Daughters, by Orazio Gentileschi. c. 1622. 151.8 by 189.2 cm. (J. Paul Getty Museum, Los Angeles).
Attributed works:
10. Macro-Detail (16x) of the Sky at the Upper Right in Fig.1, during Treatment. Note the Bright Blue Colour of the Sky Where the Old Varnish Layer Is Missing.
Attributed works:
11. Ultraviolet Fluorescence Photomicrograph of a Cross-Section Sample from the Red Drapery in Fig.1. Note the Thin Ribbon of White, Fluorescent Material at the Lower Portion of the Section, Which May Indicate That the Lower Layer Was 'Oiled out' with a Varnish Mixture.
Attributed works:
2. Danaë, by Orazio Gentileschi. c. 1622. 159.4 by 226.7 cm. (Richard L. Feigen Collection, New York).
Attributed works:
3. St Mary Magdalen in Penitence, by Orazio Gentileschi. c. 1622. 149.5 by 183 cm. (Private Collection).
Attributed works:
4. X-Radiograph of Fig.1.
Attributed works:
5. Detail of Fig.1, Showing Gold Cup.
Attributed works:
6. Detail of Lot's Leg in Fig.1, before Cleaning.
Attributed works:
7. Detail of the Neck of One of the Daughters in Fig.1, during Treatment. Note the Boundary at the Chin; The Older Varnish Layer is Missing to the Left of This Border.
Attributed works:
8. Detail of the Rocks at the Centre of the Composition in Fig.1, during Treatment. Note the Light, Blue-Grey Colour of the Cleaning Test at the Centre.
Attributed works:
9. Ultraviolet Fluorescence Photomicrograph of a Cross-Section Sample from the Rocks at the Upper Left in Fig.1. Note the Fluorescent (i.e. White) Varnish Coating Which Does Not Span the Small Crack in the Section.
Letter
The Getty Bouts Defended
12/1990 | 1053 | 132
Pages: 877
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related names
Author:
Leonard, Mark (Leonard, Mark)
Author:
Preusser, Frank (Preusser, Frank)
Author:
Rothe, Andrea (Rothe, Andrea)
Author:
Schilling, Michael (Schilling, Michael)
Subjects
artists:
Bouts, Dieric
dates:
1400-1499
museums and institutions:
J. Paul Getty Museum, Los Angeles, United States
subjects:
Netherlandish painting / Attributions / Conservation / Forgeries
Article
Dieric Bouts's 'Annunciation'. Materials and Techniques: A Summary
07/1988 | 1024 | 130
Pages: 517-522
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related names
Author:
Leonard, Mark (Leonard, Mark)
Author:
Preusser, Frank (Preusser, Frank)
Author:
Rothe, Andrea (Rothe, Andrea)
Author:
Schilling, Michael (Schilling, Michael)
Subjects
artists:
Bouts, Dieric
dates:
1400-1499
museums and institutions:
J. Paul Getty Museum, Los Angeles, United States
places:
Netherlands / United States / Los Angeles
subjects:
Netherlandish painting / Conservation / Technical analysis
subjects:
Mary, Virgin: Annunciation
Illustrations
Attributed works:
15. SEM-Micrograph (Secondary Electrons and Back-Scattered Electrons) of Fibres from the Canvas; Gold-Coated, Magnification 540x.
Attributed works:
16. SEM-Micrograph (Secondary Electrons and Back-Scattered Electrons) of Fibres from the Canvas; Gold-Coated, Magnification 540x. Note the Presence of a Layer of Size Covering the Fibres.
Attributed works:
17. Annunciation: Flesh in Angel's Right Cheek; Macro-Detail 6x.
Attributed works:
18. Annunciation: Red Curtain above Virgin's Head; Macro-Detail 8x.
Attributed works:
19. Annunciation: Blue in Angel's Right Wing; Macro-Detail 13x. Note the Thin and Partially Abraded Nature of the Surface in Figs.9a-c.
Attributed works:
20. Annunciation: Colour Infrared, Detail of Angel's Wing. Note the Alizarine-Coloured Appearance of the Areas Containing Ultramarine.
Attributed works:
21. Annunciation: Colour Infrared, Detail of Virgin's Robe.
Attributed works:
22. Annunciation: Macro-Detail (16x) of Lead-Tin Yellow Strokes in Virgin's Hair Painted on Top of Red Curtain. Note Fine Cracks at Left.
Attributed works:
23. Annunciation: Azurite and Small Particles from the Angel's Right Wing; Photomicrograph 165x. The Small Intense Blue Particles Are Azurite; The Larger Glassy, Blue-Violet Coloured Particles Are Smalt.
Attributed works:
24. and 25. Annunciation: Macro-Details (2x and 16x) of Grey Coloured Floor Painted on Top of Red Curtain.
Attributed works:
26. and 27. Annunciation: Macro-Details (2x and 16x) of Final Black Strokes of Angel's Hand Painted on Top of Red Curtain.
Attributed works:
28 and 29. Annunciation: Macro-Details (2x and 16x) of Window. Note the Progressive Layers: 1) White Background, 2) Black Vertical Line, 3) Red Square, 4) Black Horizontal Line.
Attributed works:
30. Annunciation: Colour Ultraviolet Fluorescence, Detail of Angel.
Attributed works:
31. Annunciation: Colour Ultraviolet Fluorescence, Detail of Bench.
Attributed works:
32. Annunciation: Colour Ultraviolet Fluorescence, Detail of Virgin's Robe.
Attributed works:
33. Diagram of Theoretical Panel and Frame Construction.
Attributed works:
34. Reverse of Annunciation by Dieric Bouts. [Annunciation, by Dieric Bouts. Tempera on Linen, 90 by 74.5 cm. (J. Paul Getty Museum, Malibu).]
Attributed works:
35. X-Radiograph Composite of Annunciation, by Dieric Bouts.