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Grounds in Rembrandt’s workshop and in paintings by his contemporaries
13 references·0 citing·33 second hop
Grounds in Rembrandt’s workshop and in paintings by his contemporaries (2005)Grounds in Rembrandt’s workshop and in pa…Art in the making: Rembrandt (2007)Art in the making: RembrandtNational Gallery Technical Bulletin (2000)National Gallery Technical Bu…The development of painting on coloured surfaces in sixteenth-century Italy (1998)The development of painting o…Rembrandt (1997)RembrandtLes préparations colorées des tableaux de l'Ecole Française des dix-septième et dix-huitième siècles (1992)Les préparations colorées des…Artists' techniques in Golden Age Spain : six treatises in translation (1986)Artists' techniques in Golden…A study of Richard Symonds : his Italian notebooks and their relevance to seventeenth century-painting techniques (1984)A study of Richard Symonds : …Rembrandt: The Nightwatch (1982)Rembrandt: The NightwatchRembrandt (1982)RembrandtNational Gallery Technical Bulletin (1979)National Gallery Technical Bu…Rembrandt in the Mauritshuis : an interdisciplinary study (1978)Rembrandt in the Mauritshuis …Schildertechnische aspecten van Rembrandts vroegste schilderijen (1977)Schildertechnische aspecten v…The ground in pictures (1968)The ground in picturesThe Artist's Handbook of Materials and Techniques (1940)Original treatises on the arts of painting (1967)Painting Materials: A Short Encyclopedia (2011)The characterization of canvas painting by the Serbian artist Milo Milunović using X-ray fluorescence, micro-Raman and FTIR spectroscopy (2015)Gessoes in Portuguese Baroque gilding grounds, part 1: A study of historical documentary sources (2016)Le vite de' più eccellenti pittori, scultori ed architettori scritte da Giorgio Vasari, pittore aretino (1878)4 LEAD-TIN YELLOW (1968)Differentiation between anonymous paintings of the 17th and the early 18th century by composition of clay-based grounds (2015)Salvator Mundi: an investigation of the painting’s materials and techniques (2020)A combination of invasive and non-invasive techniques for the study of the palette and painting structure of a copy of Raphael's Transfiguration of Christ (2021)From the Ground Up: The Ground in 19th-Century American Pictures (1999)Characterization of Glue Sizing Layers in Portuguese Wood Paintings from the 15th and 16th Centuries by SEM Secondary Electron Images and μ-FTIR (2013)Analysis of Aged Paint Binders by FTIR Spectroscopy (1990)Multispectral and hyperspectral imaging technologies in conservation: current research and potential applications (2006)Analytical Methods for the Characterization of Organic Dyes in Artworks and in Historical Textiles (2009)The characterisation of lead fatty acid soaps in ‘protrusions’ in aged traditional oil paint (2003)Characterisation of proteinaceous binders in artistic paintings by chromatographic techniques (2004)Pigments—Lead-based whites, reds, yellows and oranges and their alteration phases (2021)Iluzja a realizm. Gra z widzem w sztuce holenderskiej 1580-1660 (2015)Quantitative Canvas Weave Analysis Using 2-D Synchrosqueezed Transforms: Application of time-frequency analysis to art investigation (2015)Revealing the painterly technique beneath the surface of Vermeer’s Girl with a Pearl Earring using macro- and microscale imaging (2019)The ‘Night watch’, or Officers and men of the company of Captain Frans Banning Cocq and Lieutenant Willem van Ruytenburgh (1989)Rembrandt’s self-portraits: problems of authenticity and function (2005)The Meaning of the European Painted Portrait, 1400–1650 (2013)A medical evaluation of Rembrandt. His self-portrait: ageing, disease, and the language of the skin (1997)A note on glass and silica in oil paintings from the 15th to the 17th century (2010)Neutron activation autoradiography and scanning macro-XRF of Rembrandt van Rijn’s Susanna and the Elders (Gemäldegalerie Berlin): a comparison of two methods for imaging of historical paintings with elemental contrast (2015)Problems of Analysis by FTIR of Calcium Sulphate–Based Preparatory Layers: The Case of a Group of 16th‐Century P ortuguese Paintings (2013)Painting with recycled materials: on the morphology of calcite pseudomorphs as evidence of the use of wood ash residues in Baroque paintings (2018)The use of glass particles and its consequences in late 16th century oil painting: A Portuguese case based on the analytical results and the technical treatises (2019)A new lead-based yellow in the seventeenth century (1998)Mining for Color: New Blues, Yellows, and Translucent Paint (2015)Surface and Interface Treatments on Wooden Artefacts: Potentialities and Limits of a Non-Invasive Multi-Technique Study (2020)
this work references cited by second hop

References

  • 1979National Gallery Technical Bulletin346 cited
  • 2000National Gallery Technical Bulletin59 cited
  • 1986Artists' techniques in Golden Age Spain : six treatises in translation23 cited
  • 1998The development of painting on coloured surfaces in sixteenth-century Italy19 cited
  • 1997Rembrandt16 cited
  • 1992Les préparations colorées des tableaux de l'Ecole Française des dix-septième et dix-huitième siècles14 cited
  • 1982Rembrandt12 cited
  • 2007Art in the making: Rembrandt11 cited
  • 1968The ground in pictures11 cited
  • 1984A study of Richard Symonds : his Italian notebooks and their relevance to seventeenth century-painting techniques11 cited
  • 1982Rembrandt: The Nightwatch9 cited
  • 1978Rembrandt in the Mauritshuis : an interdisciplinary study5 cited
  • 1977Schildertechnische aspecten van Rembrandts vroegste schilderijen1 cited

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