2018救济金6元棋牌

    1. <form id='mif4z'></form>
        <bdo id='mif4z'><sup id='mif4z'><div id='mif4z'><bdo id='mif4z'></bdo></div></sup></bdo>

          • <tr id='qpjd4'><strong id='qpjd4'></strong><small id='qpjd4'></small><button id='qpjd4'></button><li id='qpjd4'><noscript id='qpjd4'><big id='qpjd4'></big><dt id='qpjd4'></dt></noscript></li></tr><ol id='qpjd4'><option id='qpjd4'><table id='qpjd4'><blockquote id='qpjd4'><tbody id='qpjd4'></tbody></blockquote></table></option></ol><u id='qpjd4'></u><kbd id='qpjd4'><kbd id='qpjd4'></kbd></kbd>

            <code id='qpjd4'><strong id='qpjd4'></strong></code>

            <fieldset id='qpjd4'></fieldset>
                  <span id='qpjd4'></span>

                      <ins id='qpjd4'></ins>
                      <acronym id='qpjd4'><em id='qpjd4'></em><td id='qpjd4'><div id='qpjd4'></div></td></acronym><address id='qpjd4'><big id='qpjd4'><big id='qpjd4'></big><legend id='qpjd4'></legend></big></address>

                      <i id='qpjd4'><div id='qpjd4'><ins id='qpjd4'></ins></div></i>
                      <i id='qpjd4'></i>
                    1. <dl id='qpjd4'></dl>
                      1. UP
                        Essential Vermeer 3.0
                        Looking for a painting by Vermeer? Find it with QUICK SEARCH!

                        E.V. Bibliography: Historical Painting, Drawing and Treatises

                        If you have corrections or suggestions for any of the Essential Vermeer Online Bibliographies, please send them to the author and webmaster of this site, .



                        Primary Sources

                        • ANGEL, Philips. Lof der Schilder-konst. Leiden, 1642.
                        • ARMENINI, Giovanni Battista. Ravenna: Francesco Tebaldini, 1587.
                        • BALDINUCCI, Filippo. . Florence, 1681.
                        • BARBARO, Daniele. La Practica della Perspettiva di Monsignor Daniele Barbaro Eletto Patriarca d'Aquileia, Opera Molto Utile a Pittori, a Scultori, & ad Architetti. Venice: Camillo and Rutilio Borgominieri. 1568.
                        • BARDWELL, Thomas. . London, 1795.
                        • BEAL, Mary, A Study of Richard Symonds: His Italian Notebooks (1649–1651) and their Relevance to 17th c Painting Techniques, Outstanding Theses from the Courtauld Institute of Art, NY, 1984.
                        • BROWNE, Alexander. . London: J. Redmayne, 1669.
                        • BRUN, Charle Le. . Amsterdam: François van-der Plaat, 1702
                        • BRUN, Charle Le (after). . London: John Bowles.1750.
                        • CENNINO, Cennino. . c . 1400. ( for English translation)
                        • CLARKE, Mark, The Art of All Colours: Mediaeval Recipe Books for Painters and Illuminators (London: Archetype Publications, Ltd.) 2001.
                        • CLEAVER, Elizabeth. An Account of a New Process in Painting. In Two Parts. Part I. Containing remarks on its general correspondence with the peculiarities of the Venetian School. Part II. Supplementary details, explanatory of the process: with miscellaneous observations on the arts of the sixteenth century. F.C. & J. Rivington. 1821.
                        • CLERC, Sébastien Le. Paris: G. Audran," graveur du roy ..." 1700.
                        • COLLIER, John. . London: Cassel, 1887.
                        • COX, David. . London: The Studio. 1813.
                        • DOSSIE, R. The Handmaid to the Arts...teaching a perfect knowledge of the Materia Pictoria; or the nature, use, preparation, and composition of all the various substances employed in painting...the means of delineation...the various manners of gilding, silvering, bronzing, japanning. J. Nourse. 1764.
                        • DÜRER, Albrecht. . A. Arnhem: Jean Jeansz. 1614.
                        • DÜRER, Albrecht. (Measurement by Compass and Ruler). München: Süddeutsche Monatsheft.
                        • FELIBIEN, Andre, Des Principes de L 'Architecture, de la Sculpture, de la Peinture, et des autres Arts qui en dependent, 1st ed. Paris, 1699 (Famborough, UK:Gregg Press Ltd.) 1966.
                        • FIALETTI, Odoardo. . Venice: Justus Sadeler, 1608.
                        • GOEREE, William. Inleydinge tot de al-ghemeene teycken-konst: een kritische geannoteerde editie (An Introduction to the General Art of Drawing). London: R. Pricke, 1674.
                        • HAMILTON, John. Stereography, or, a Compleat Body of Perspective, in all its branches. Teaching to describe, by mathematical rules, the appearances of lines, plain figures, and solid bodies, rectilinear, curvilinear, and mixed, in all manners of positions. Together with their projections or shadows, and their reflections by polished planes. The whole performed by uniform, easy and general methods, for the most part entirely knew. In seven books. London: W. Bowyer. 1738.
                        • HOOGSTRATEN, Samuel van. (Introduction to the Higher Education of the Art of Painting). Rotterdam, 1678.
                        • HUET, Jean-Baptiste. , 1778.
                        • JAMITZER, Wenzer. Perspectiva Corporum Regularium. Nurnberg, Gotlicher Hulff. 1568
                        • JUNIUS, Franciscus.. 1641.
                        • LAIRESSE, Gérard de. . Amsterdam, 1707; English translation, 1738.
                        • LAIRESSE, Gérard de. . 1733.
                        • LAIRESSE, Gérard de. . Willem de Coup. 1701.
                        • LOMAZZO, Giovanni Paolo. . 1584.
                        • MALTON, JAMES. The Young Painter's Maulstick; being a practical treatise on perspective; containing rules and principles for delineation on planes...founded on the clear mechanical process of Vinola and Siragatti; united with the theoretic principles of the celebrated Dr Brook Taylor. 1798.
                        • MALVASIA, Carlo Cesare. ., Bologna: Monti, 1706.
                        • MAYERNE T.T. de. , 1620.
                        • MERRIFIELD, M.P. Medieval and Renaissance Treatises on the Arts of Painting, Original texts with English translations, 2 vols. bound as one (Mineola, NY: Dover) 1849, 1967, 1999.
                        • MANDER, Karel van, Het Schilder-Boeck, Haarlem, 1604.
                        • NICERON, Jean François. . Paris:, Pierre Bilain, 1638.
                        • PACHECO, Francisco. . 1646.
                        • PALMA, il Giovane, Jacopo. . Venice: Marco Sadeler, 1636.
                        • PARKHURST, Daniel Burleigh. . Boston: Lee and Shepard, 1898.
                        • PECHAM, Heney. The art of dravving vvith the pen, and limming in water colours : more exactlie then heretofore taught and enlarged with the true manner of painting vpon glasse, the order of making your furnace, annealing, &c. Published, for the behoofe of all young gentlemen, or any els that are desirous for to become practicioners in this excellent, and most ingenious art. London, 1607.
                        • PILES, Roger de.. (The Principles of Painting. 1708.
                        • PILES, Roger de. (Dialogue upon Colour., 1673)
                        • PLINY (Gaius Plinius Secundus or Pliny the Elder, A.D. 23–79), Historia Naturalis (Natural History), 10 vols., tr. D.E. Eichholz, Loeb Classical Library (Cambridge, MA: Harvard University Press, 1971, Bk. 35.
                        • PRIESTLEY, JOSEPH. . London: J. Johnson. 1780.
                        • RUSKIN, John. . London: Smith, Elder, & Co., 1857.
                        • SMITH, John., . 1706.
                        • TALLEY, Mansfield Kirby, Portrait Painting in England: Studies in the Technical Literature Before 1700, published privately by The Paul Mellon Centre for studies in British Art London, 1981. [discussion of de Mayerne MS in chapter 6, 72–149]
                        • TROILI, Giulio. Paradossi per Pratticare la Prospettiva Senza Sapperia. Bologna: Gioseffo Longhi, 1683.
                        • VASARI, Giorgio.. (originally published in 1550 as an introduction to Vasari's Lives of the Artists).
                        • VELIZ, Zahira, Artists' techniques in Golden Age Spain, Cambridge, 1986. [contains Francisc Pacheco, Arte de la pintura (Seville, 1649)]

                        Secondary Sources

                        • BAKKENIST, T., R. Hoppenbrouwers and H. Dubois, eds., Early Italian Paintings, Techniques and Analysis. Proceedings of the Symposium held at the Stichting Restauratie Atelier Limburg, Maastricht, 9–10 October, 1996.
                        • BEAL, Mary. Study of Richard Symonds: His Italian Notebooks and their Relevance to Seventeenth-Century Painting Techniques. New York: Garland, 1984.
                        • BERGER, Ernst. Quellen fur Maltechnik wahrend der Renaissance und deren Folgezeit. Munich, 1901, reprint 1973. Contains de Mayerne MS, 99–364.
                        • BOK, Martin Jan. "The Artist's Working Method," in Jan Steen, Painter and Storyteller. exh. cat., National Gallery of Art and Rijksmuseum, Amsterdam, Washington and Amsterdam, 1996, 86–87.
                        • BOERSMA, Annetje. "Dou's Painting Technique: An Examination of Two Paintings," in Gerrit Dou, Master Painter in the Age of Rembrandt, Arthur K. Wheelock, Jr., ed., exh. cat., National Gallery of Art, Washington (New Haven: Yale University Press): 2000, 54–63.
                        • BOMFORD David, Christopher Brown and Ashok Roy. Art in the Making: Rembrandt (London: National Gallery) 1988.[Glossary 144–147; Bibliographical Appendix on Training of Artists and Practice of Painting, 48–149; Select Bibliography, 150–153; Technical Literature, 154–155.
                        • BRUSATI, Celeste. Artifice and illusion: The Art and Writing of Samuel van Hoogstraten. Chicago: University. of Chicago Press, 1995.
                        • BUCKLOW, Spike. , London, 2009.
                        • DOERNER, Max.The Materials of the Artist and their use in Painting (New York: Harcourt Brace) 1934, 1984.
                        • DUNKERTON, Jill, Susan Foister and Nicholas Penny, Durer to Veronese: Sixteenth-Century Painting in the National Gallery (New Haven and London: Yale Univ. Press and National Gallery Publications Ltd.) 1999. [especially chapters 6 through 9] 3
                        • EASTLAKE, C. L., Methods and Materials of Painting of the Great Schools and Masters, 2 vols., London 1847, reprint, New York, 1960.
                        • FELLER, Robert L. (vol.1), Ashok Roy, (vol.2), and Elizabeth West Fitzhugh (vol. 3), eds., Artists' Pigments: A Handbook of their History and Characteristics, 3 vols. (vol.1, Cambridge and Washington: Cambridge University Press and National Gallery of Art) 1986; (vol.2, Washington and New York: National Gallery of Art and Oxford University Press) 1993; (vol.3, Washington and New York: National Gallery of Art and Oxford University Press) 1997.
                        • GETTENS, Rutherford J. and George L. Stout. Painting Materials: A Short Encyclopaedia. New York: Dover, 1942, 1966.
                        • GIFFORD, E. Melanie. "Style and Technique in Dutch Landscape Painting." Historical Painting Techniques, Materials, and Studio Practice, edited by Arie Wallert, Erma Hermens. (1995): 140–147.
                        • GIFFORD, E. Melanie. "Esaias van de Velde's Technical Innovations: Translating a Graphic Tradition into Paint." In Painting Techniques: History, Materials, and Studio Practice, IIC 1998 Dublin Congress, edited by Ashok Roy, and Perry Smith, 145–149. London: International Institute for Conservation of Historic and Artistic Works (IIC), 1998.

                          GIFFORD, E. Melanie. "Painting Light: Recent Observations on Vermeer's Painting Technique." In New Vermeer Studies, Studies in the History of Art, vol. 55, edited by Ivan Gaskell, and Michiel Jonker, 185–199. Washington: National Gallery of Art, 1998.
                        • GIFFORD, E. Melanie. "Landscape Painting Style and Technique: Fidelity to the 16th Century Tradition in Early 17th Century Landscape Production." In Colloque XII pour l'étude du dessin sous-jacent et de la technologie dans la peinture, edited by R. van Schoute, and H. Verougstraete, 177–188. Louvain-la-Neuve: Peeters, 1999.
                        • GIFFORD, E. Melanie. "Evocation and Representation: Rembrandt's Landscape Painting Technique." In exh. cat. Rembrandt's Landscapes, edited by Christaan Vogelaar, and Gregor J. M. Weber, 120–143. Leiden: Stedelijk Museum het Lakenhal, 2006.
                        • GIFFORD, E. Melanie. "Lievens' Technique: Wonders in Smeared Paint, Varnishes and Oils." In exh. cat. Jan Lievens: A Master Rediscovered, edited by Arthur K. Wheelock Jr., 40–53. Washington: National Gallery of Art, 2008.
                        • GIFFORD, E. Melanie. "Fine Painting and Eloquent Imprecision: Gabriel Metsu's Painting Technique." In Gabriel Metsu, edited by Adriaan E. Waiboer, 154–179. Dublin: Yale University Press, 2010.
                        • GIFFORD, E. Melanie, Anikó Bezúr, Andrea Guidi di Bagno, and Lisha Deming Glinsman. "The Making of a Luxury Image: Van Aelst's Painting Materials and Artistic Techniques." In exh. cat. Elegance and Refinement: The Still-life Paintings of Willem van Aelst, edited by Tanya Paul, 66–89. Houston and Washington: Houston Museum of Fine Arts and National Gallery of Art, 2012.
                        • GIFFORD, E. Melanie. "Material as Metaphor: Non-conscious Thinking in Seventeenth Century Painting Practice." In Studying Old Master Paintings—Technology and Practice, edited by Marika Spring, 165–172. London: Archetype Publications, 2011.
                        • GRAAF VAN DE, J. A. Het De Mayerne Manuscript als Bron Voor de Schildertechnick van de Barok, Mijdrecht, 1958.
                        • GROEN, Karen and Ella Hendriks, "Frans Hals: Technical Examination," in S. Slive, ed. Frans Hals, exh. cat., National Gallery of Art, Royal Academy, Frans Halsmuseum, Washington, London and Haarlem, 1989–1990, 109–127.
                        • HARLEY, Rosamund, Artists' Pigments c. 1600–1835: A Study in English Documentary Sources, 2nd ed., London: Bufferworth Scientific, 1982.
                        • HOWARD, Helen, David Peggie and Rachel Billinge, Helen Howard, David Peggie and Rachel Billinge, "Vermeer and Technique." National Gallery website.
                          • Methods and Technique (Introduction)
                          • Support and ground-
                          • Infrared examination -
                          • Vermeer's palette -
                          • Binding medium -
                          • Paint application -
                          • Secrets of the studio - o
                          • Time and transformation
                          • Altered appearance of ultramarine -
                          • Fading of yellow and red lake pigment -
                          • Drying and paint defects -
                          • Formation of lead and zinc soaps -
                          • Infrared examination -
                        • JANSON, Jonathan, Looking Over Vermeer's Shoulder Seventeenth-Century Dutch Fine Painting Techniques and Studio Practices with Particular Focus on the Work of Johannes Vermeer (second edition), USA, 2016.
                        • JANSON, Jonathan. "How Vermeer Painted," in Hound in the Hunt: Optical Aids in Art. Museum of Old Art and New, Hobart TS, 2016. 90–151
                        • KIRBY, Jo. "The Painter's Trade in the Seventeenth Century: Theory and Practice, National Gallery Technical Bulletin, vol 20 (1999): 5–49.
                        • KOESTER, Olaf, with contributions by Celeste Brusati, Jørgen Hein, Gunter Herzog, Ekkehard Mai, Mette Bjarnhof, and Lone Bogh. Illusions: Gijsbrechts, Royal Master of Deception, exh. cat. (Copenhagen: Statens Museum for Kunst) 1999. See especially Mette Bjamhof and Lone Bogh, "Restoration History and Study of Painting Technique, 287–305.
                        • LAURIE, A.P., The Painter's Methods and Materials (NY: Dover) 1926, 1967.
                        • MAYER, Ralph, The Artist's Handbook (NY: Viking) 1940, revised ed. 1991.
                        • MACLEHOSE, L.S., tr., and Prof G. Baldwin-Brown, ed., Vasari on Technique (New York: Dover) 1907, 1960.
                        • MERRIFIELD, M. Medieval and Renaissance Treatises on the Arts of Painting, 1849.
                        • RUBIN, Patricia Lee, and Alison Wright, Renaissance Florence: The Art of the 1470's (London: National Gallery Publications) 1999.
                        • SCHENDEL, A.F.E. van, "Manufacture of vermilion in 17th-century Amsterdam: the Pekstok papers," Studies in Conservation, 17, (1972): 70–82. [also contains recipes for Spanish green (verdigris) and schuytgeel (a yellow lake pigment.) [Peckstock Papers, Municipal Archives, Amsterdam, No. N-09-23].
                        • TALLEY, Mansfield Kirby. Portrait Painting in England: studies in the technical literature before 1700, published privately by the Paul Mellon Centre, London 1981. [discussion of de Mayerne MS in chapter 6].
                        • VANDERVERE, Abbie and Abbie Vandivere and Annelies van Loon. "Girl with a Blog."
                          • Who's that Girl? (Introduction to research project) -
                          • Preparing for exam ( What will happen in the Golden Room) -
                          • Beauty is more than skin deep (Samples / Imaging ) -
                          • Vermeer illuminated (1994 treatment) -
                          • Say cheese (Technical photography) -
                          • A blank canvas (Canvas) -
                          • From the ground up (Ground) -
                          • Watching paint dry (Oil) -
                          • Art supply and demand (Paint, and where materials come from) -
                          • Seeing red (Vermilion and cochineal ) -
                          • It's all there in black and white (Blacks and lead white ) -
                          • Background check (Background ) -
                          • Up close and personal (Under the microscope) -
                          • Contouring, highlighting and blending (Skin ) -
                          • Dressed to impress (Yellow and browns ) -
                          • Out of the blue (Blues) -
                          • Glazed over (Glazes and varnish) -
                          • You’re crackin me up (Cracks) -
                          • Wrap-up (Wrap-up) -
                        • VAN HOUT, Nico, "Meaning and Development of the Ground-layer in Seventeenth Century Painting," Looking Through Paintings, the Study of Painting Techniques and Materials in Support of Art Historical Research, Erma Hermens, ed., (Leiden: deProm and Archetype) 1998, 199–225.
                        • VELIZ, Zahira. Artists' Techniques in Golden Age Spain...Six treatises in translation, Cambridge: Cambridge University Press, 1986.
                        • WALLERT, Arie, ed. Still Lifes: Techniques and Style: An Examination of Paintings from the Rjjksmuseum, Rijksmuseum, Amsterdam, Zwolle: Waanders Publishers, 1999.
                        • WETERING, Ernst van de. Amsterdam: Amsterdam University Press, 2004.
                        • WETERING, Ernst van de."The Canvas Support," chapter 5 in Rembrandt: The Painter at Work, Oakland: University of California Press, 2000.
                        • WETERING, Ernst van de."Canvas Research with Emil Bosshard, Remarks on Method." In Emil Bosshard, Paintings Conservator (1945–2006): Essays by Friends and Colleagues, edted by Maria de Peverelli, Marco Grassi, and Hans Christoph von Imhoff (Florence: Centro Di, 2009), 268..
                        • WHITE, Raymond and Jo Kirby. "Rembrandt and his Circle: Seventeenth-Century Dutch Paint Media Re-Examined," National Gallery Technical Bulletin, vol.15 (London: National Gallery Publications) 1994, 64–78.


                        Recommended Vermeer Reading


                        Garry Schwartz
                        2017
                        Vermeer, Karl Schutz
                        Karl Schütz
                        2015
                        Wayne Franits, Vermeer
                        Wayne Franits
                        2015
                        Vermeer: The Complete Paintings, Walter Liedtke
                        Walter Liedtke
                        2008
                        Vermeer, John Nash
                        John Nash
                        2002
                        Vermeer and the Delft School, Walter Liedtke
                        Walter Liedtke 2001
                        Vermeer: The Complete Works, Arthur K. Wheelock Jr.

                        Arthur K. Wheelock Jr.
                        1997
                        Johannes Vermeer, Arthur K. Wheelock Jr."

                        Arthur K. Wheelock Jr.
                        1995
                        Vermeer Studies, ed. Ivan Gaskell &amp;amp; Micheal Jonker

                        ed. Ivan Gaskell & Micheal Jonker
                        1995
                        Vermeer and the Art of Painting, Arthur K. Wheelock Jr.

                        Arthur K. Wheelock Jr.
                        1995
                        Vermeer, Martin Bailey

                        Martin Bailey
                        1995
                        Vermeer, Lawrence Gowing

                        Lawrence Gowing
                        1970

                        娱乐正规网址-Welcome 提棋牌可以的 - Bibliography: Historical Painting, Drawing and Treatises 乐酷棋牌---2018救济金6元棋牌_欢迎您 疯狂牛牛安卓---2018救济金6元棋牌_欢迎您 在线赌博最新