Save
Save chapter to my Bookmarks
Cite
Cite this chapter
Print this chapter
Share
Share a link to this chapter
Free
References
Daphne Barbour, Suzanne Quillen Lomax
Description: Facture: Conservation Science Art History Volume 4: Series, Multiples, Replicas
Facture: Conservation Science Art History Volume 4: Series, Multiples, Replicas
References
Author
Daphne Barbour, Suzanne Quillen Lomax
PublisherNational Gallery of Art
Copyright© 2019 Board of Trustees, National Gallery of Art, Washington
Stable URL: https://aaeportal.com/?id=-20876
View chapters with similar subject tags
Chapter images ()
Loading image navigation...
No image index could be found for this publication.
Close this Panel
Show previous images Show next images
References
The Portraits of Giuliano de’ Medici by Sandro Botticelli
ASCIAMPRENER 1953 Asciamprener, Spartaco. El lamento di Giuliano de’ Medici. Milan, 1953.
BAMBACH 1999 Bambach, Carmen C. Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300–1600. New York, 1999.
BAUER 1986 Bauer, Linda Freeman. “A Letter by Barocci and the Tracing of Finished Paintings.” Burlington Magazine 128, no. 988 (May 1986): 355–357.
BECCARIA AND BUDA 2012 Beccaria, Carlotta, and Roberto Buda. “Restauro dei dipinti di Sandro Botticelli: Ritratto di Giuliano de’ Medici.” In Rodeschini 2012, 58–73.
BECCHI 2012 Becchi, Gentile. “Florentina Synodus.” In La congiura della veritá, edited by Marcello Simonetta, 90–170. Naples, 2012.
BELLUCCI ET AL. 1989 Bellucci, Roberto, Francesca Ciani Passeri, Marco Ciatti, Carla Giovanini, Patrizia Petrone, and Chiara Rossi Scarzanella. “Ancora sulla ‘Bella Simonetta.’” OPD Restauro, n.s., 1 (1989): 120–128, 157.
BELLUCCI AND FROSININI 2002 Bellucci, Roberto, and Cecilia Frosinini. “Working Together: Technique and Innovation in Masolino’s and Masaccio’s Panel Paintings.” In The Panel Paintings of Masolino and Masaccio: The Role of Technique, edited by Carl Brandon Strehlke, with Cecilia Frosinini, 29–67. Milan, 2002.
BELLUCCI AND FROSININI 2009 Bellucci, Roberto, and Cecilia Frosinini. “Art in the Making: Sassetta and the Borgo San Sepolcro Altarpiece.” In Sassetta: The Borgo San Sepolcro Altarpiece, edited by Machtelt Israëls, 1:382–396. Florence, 2009.
BELLUCCI AND FROSININI 2014 Bellucci, Roberto, and Cecilia Frosinini. “Underdrawings in Paintings.” In Science and Art: The Painted Surface, edited by Antonio Sgamellotti, Brunetto Giovanni Brunetti, and Costanza Miliani, 269–286. London, 2014.
BETTINI 1942 Bettini, Sergio. Botticelli. Bergamo, 1942.
BIALOSTOCKI 1973 Bialostocki, Jan. “The Door of Death: Survival of a Classical Motif in Sepulchral Art.” Jahrbuch der Hamburger Kunstsammlungen 18 (1973): 7–32.
BOCK 1978 Bock, Henning. Picture Gallery, Berlin: Catalogue of Paintings, 13th–18th Centuries, translated by Linda B. Parshall. Berlin, 1978.
BODE 1888 Bode, Wilhelm von. “La Renaissance au musée de Berlin 4: Les peintres florentins du XVe siècle.” Gazette des beaux-arts 2, no. 37 (1888): 472–489.
BOSKOVITS AND BROWN 2003 Boskovits, Miklós, and David Alan Brown. Italian Paintings of the Fifteenth Century. Washington, 2003.
BROECKE 2015 Broecke, Lara. Cennino Cennini’s Il Libro dell’Arte: A New English Translation and Commentary with Italian Transcription. London, 2015.
BUZZEGOLI 2006 Buzzegoli, Ezio. “Osservazioni tecniche dalla lettura comparata di indagini ottiche su tre opera del Botticelli.” In Il tondo di Botticelli a Piacenza, edited by Davide Gasparotto and Antonella Gigli, 81–91. Milan, 2006.
CHRISTIANSEN AND WEPPELMANN 2011 Christiansen, Keith, and Stefan Weppelmann. The Renaissance Portrait from Donatello to Bellini. New York, 2011.
COOPER 1994 Cooper, Tracy E. “I Modani: Template Drawings.” In The Renaissance from Brunelleschi to Michelangelo: The Representation of Architecture, edited by Henry A. Millon and Vittorio Magnago Lampugnani, 233–257. Palazzo Grassi, Venice. New York, 1994.
DI LORENZO 2010 Di Lorenzo, Andrea. Botticelli nelle collezioni Lombarde. Milan, 2010.
DI LORENZO 2011 Di Lorenzo, Andrea. “Le opere di Botticelli dell’ Accademia Carrara.” In La luce del Rinascimento: Temi, concetti, dinamiche della cultura artistica rinascimentale, edited by Andrea Di Lorenzo, 55–73. Turin, 2011.
DRAPER 1992 Draper, James David. Bertoldo di Giovanni: Sculptor of the Medici Household: Critical Reappraisal and Catalogue Raisonné. Columbia, MO, 1992.
FLAMINI 1889 Flamini, F. “Versi in morte di Giuliano de’ Medici.” Il Propugnatore 2, no. 1 (1889): 315–334.
FOOTE 2016 Foote, Jonathan. “Animate Tracings in Michelangelo’s Paper Modani. ” Paper presented at the Renaissance Society of America Annual Meeting, April 2, 2016, online at https://convention2.allacademic.com/one/rsa/rsa16/index.php?cmd=Online+Program+View+Paper&selected_paper_id=1047295&PHPSESSID=ndioid62sntqabkgmng23l2p84 (accessed December 17, 2017).
GALASSI 2013 Galassi, Maria Clelia. “Visual Evidence for the Use of Carta Lucida in the Italian Renaissance Workshop.” In The Renaissance Workshop, edited by David Saunders, Marika Spring, and Andrew Meek, 130–137. London, 2013.
GIOVIO 1575 Giovio, Paolo. Elogia vivorum bellica virtute illustrum. Basel, 1575.
HATFIELD 1976 Hatfield, Rab. Botticelli’s Uffizi “Adoration”: A Study in Pictorial Content. Princeton, 1976.
KUNZELMAN 2015 Kunzelman, Diane. “Comparative Technical Investigations of Paintings by Sandro Botticelli.” In Sandro Botticelli (1445–1510): Artist and Entrepreneur in Renaissance Florence; Proceedings of the International Conference Held at the Dutch University Institute for Art History, Florence, 20–21 June 2014, edited by Gert Jan van der Sman and Irene Mariani, 26–45. Florence, 2015.
LANGEDIJK 1982 Langedijk, Karla. Portraits of the Medici: 15th–18th Centuries. 2 vols. Florence, 1982.
LERMOLIEFF 1890 Lermolieff, Ivan. Kunstkritische Studien über italienische Malerei. Leipzig, 1890.
LIGHTBOWN 1978 Lightbown, Ronald. Sandro Botticelli: Life and Work. 2 vols. London, 1978.
LOCATELLI 2018 Locatelli, Valentina. “Ritratto di Giuliano de’ Medici” (cat. 11.21). In Accademia Carrara di Bergamo: Dipinti del trecento e del quattrocento, edited by Giovanni Valagussa, 58–63. Milan, 2018.
MACLEHOSE 1907 Maclehose, Louisa S. Vasari on Technique. London, 1907.
PLEBANI, RODESCHINI, AND VALAGUSSA 2015 Plebani, Paolo, Maria Cristina Rodeschini, and Giovanni Valagussa. Accademia Carrara: 100 Masterpieces. Milan, 2015.
POLIZIANO 1856 Poliziano, Angelo. Congiura de’ Pazzi: Narrata in Latino da Agnolo Poliziano e volgarizzata con sue note e illustrazioni, edited by Anicio Bonucci. Florence, 1856.
POLIZIANO 2000 Poliziano, Angelo. “The Pazzi Conspiracy.” In Images of Quattrocento Florence: Selected Writings in Literature, History, and Art, edited by Stefano Ugo Baldassarri and Arielle Saiber, 96–102. London, 2000.
POLIZIANO AND WELLES 1978 Poliziano, Angelo, and Elizabeth B. Welles. “Angelo Poliziano: Introduction and the Pazzi Conspiracy.” In The Earthly Republic: Italian Humanists on Government and Society, edited by Benjamin G. Kohl, Ronald G. Witt, and Elizabeth B. Welles, 293–322. Philadelphia, 1978.
RICHTER, RICHTER, AND PERGOLA 1960 Richter, Irma, Gisela Richter, and Paola della Pergola. Italienische Malerei der Renaissance im Briefwechsel von Giovanni Morelli und Jean Paul Richter, 1876–1891. Baden-Baden, 1960.
RODESCHINI 2012 Rodeschini, M[aria] Cristina, ed. Sandro Botticelli, “Persona Sofistica”: I dipinti dell’Accademia Carrara. Palazzi della Ragione, Bergamo, 2012.
RUHEMANN 1955 Ruhemann, H. “Technical Analysis of an Early Painting by Botticelli.” Studies in Conservation 2, no. 1 (March 1955): 17–40.
SCHUMACHER 2009 Schumacher, Andreas. Botticelli: Likeness, Myth, Devotion. Frankfurt, 2009.
SHEARMAN 1988 Shearman, John. Only Connect: Art and the Spectator in the Italian Renaissance. Princeton, 1988.
WODZINSKA 1979 Wodzinska, Maria. “Technical Analysis of a Painting Ascribed to Botticelli.” Bulletin du Musée National de Varsovie 20, no. 4 (1979): 103–113.
ZAMBRANO 2010 Zambrano, Patrizia. “Ritratto di Giuliano de’ Medici (Bergamo)” (cat. 1). In Botticelli nelle collezioni lombarde, edited by Andrea Di Lorenzo, 54–57. Museo Poldi Pezzoli, Milan, 2010.
ZANARDI 2002 Zanardi, Bruno. Giotto e Pietro Cavallini: La questione di Assisi e il cantiere medievale della pittura a fresco. Milan, 2002.
ZERI AND ROSSI 1986 Zeri, Federico, and Francesco Rossi. La raccolta Morelli dell’Accademia Carrara. Milan, 1986.
“Comparable to the Very Tips of Their Spades”: Technical and Political Connections among Serial Busts of Charles V
ARIAS 2012 Arias, Elena. “Esculturas de Leone y Pompeo Leoni: técnicas escultóricas sobre metal.” In Leone and Pompeo Leoni: Actas del congreso internacional, edited by Stephan F. Schröder, 160–172. Madrid, 2012.
BABELON 1922 Babelon, Jean. Jacopo da Trezzo et la construction de l’Escurial. Bordeaux, 1922.
BASSETT 2008 Bassett, Jane. The Craftsman Revealed: Adriaen de Vries, Sculptor in Bronze. Los Angeles, 2008.
BEWER AND MCNAMARA 2012 Bewer, Francesca, and Molly McNamara. “The Portrait Busts of Cosimo I et Bindo Altoviti from the Inside Out.” In Marks of Identity: New Perspectives on Italian Sculpture of the Sixteenth Century, edited by Dimitrios Zikos and Andrea Bacchi, 62–81. Boston, 2012.
BIRINGUCCIO (1540) 1959 Biringuccio, Vannoccio. De la Pirotechnia (1540), translated by Cyril Stanley Smith and Martha Teach Gnudi. New York, 1959.
CAMPORI 1855 Campori, Giuseppe. Gli artisti italiani e stranieri negli stati estensi. Modena, 1855.
CELLINI (1568) 1967 Cellini, Benvenuto. The Treatises of Benvenuto Cellini on Goldsmithing and Sculpture (1568), translated by Charles Robert Ashbee. New York, 1967.
CELLINI 1951 Cellini, Benvenuto. The Life of Benvenuto Cellini, translated by John Symonds. New York, 1951.
COPPEL AREIZAGA 1994 Coppel Areizaga, Rosario. “Charles V and Furor” (cat. 1). In Los Leoni (1509–1608): Escultores del Renacimiento italiano al servicio de la corte de España, 102–109. Museo Nacional del Prado, Madrid, 1994.
CUPPERI 2014 Cupperi, Walter. “‘You Could Have Cast Two Hundred of Them’: Multiple Portrait Busts and Reliefs at the Court of Charles V of Habsburg.” In Multiples in Pre-Modern Art, edited by Walter Cupperi, 173–199. Zurich, 2014.
DI DIO 2011 Di Dio, Kelley Helmstutler. Leone Leoni and the Status of the Artist at the End of the Renaissance. Burlington, VT, 2011.
DI DIO 2012 Di Dio, Kelley Helmstutler. “Leone Leoni’s Portrait Busts of the Habsburgs and the Taste for Sculpture in Spain.” In Leone and Pompeo Leoni: Actas del congreso internacional, edited by Stephan F. Schröder, 46–65. Madrid, 2012.
FALOMIR 2008 Falomir, Miguel. El retrato del Renacimiento. Madrid, 2008.
GLINSMAN AND HAYEK 1993 Glinsman, Lisha, and Lee-Ann Hayek. “A Multivariate Analysis of Renaissance Portrait Medals: An Expanded Nomenclature for Defining Alloy Composition.” Archaeometry 35 (1993): 49–67.
KAMEN 2010 Kamen, Henry. The Escorial: Art and Power in the Renaissance. New Haven, 2010.
KNITEL 1987 Knitel, Otto. Die Giesser zum Maximiliangrab: Handwerk und Technik. Innsbruck, 1987.
LANGH 2012 Van Langh, Robert. Technical Studies of Renaissance Bronzes. Wildert, Belgium, 2012.
LEBON 2003 Lebon, Elisabeth. Dictionnaire des fondeurs de bronze d’art: France, 1890–1950. Perth, Australia, 2003.
MARSDEN 2013 Marsden, Jonathan. “Portrait as Trophy: Three Imperial Busts by Leone Leoni.” Lecture delivered at the Frick Collection, New York. January 30, 2013, online at https://www.frick.org/interact/marsden (accessed October 13, 2017).
MIDDELDORF 1976 Middeldorf, Ulrich. Sculptures from the Samuel H. Kress Collection: European Schools, XIV–XIX Century. London, 1976.
MORIGI 1999 Morigi, Giovanni. “Il restauro dei bronzi della fontana del Nettuno di Giambologna.” In Il restauro del Nettuno: La statua di Gregorio XIII e la sistemazione di piazza Maggiore nel Cinquecento, 95–196. Bologna, 1999.
MORIGI AND MORIGI 2004 Morigi, Giovanni, and Lorenzo Morigi. “Il bronzo di Benvenuto Cellini a Boston: Il restauro del busto di Bindo Altoviti.” Kermes 17 (2004): 20–28.
MULCAHY 1992 Mulcahy, Rosemarie. “A la mayor gloria de Dios y el Rey”: La decoración de la Real Basilica del Monasterio de El Escorial. Madrid, 1992.
MULCAHY 1999 Mulcahy, Rosemarie. “Adriaen de Vries in the Workshop of Pompeo Leoni.” In Adriaen de Vries, 1556–1626: Imperial Sculptor, edited by Frits Scholten, 46–51. Los Angeles, 1999.
PAPPOT AND WIERSMA 2017 Pappot, Arie, and Lisa Wiersma. “Jacques Jonghelinck: Bronze Sculptor of the Low Countries in the Sixteenth Century.” Sculpture Journal 26, no. 1 (2017): 69–82.
PICHORNER 2009 Pichorner, Franz. “Büste Kaiser Karls V” (cat. entry). In Die Künstler Der Kaiser, edited by Götz Adriani, 228–229. Cologne, 2009.
PLON 1887 Plon, Eugène. Les Maitres Italiens au service de la Maison d’Autriche: Leone Leoni, sculpteur de Charles-Quint, et Pompeo Leoni, sculpteur de Philippe II. Paris, 1887.
RIEDERER 2000 Riederer, Josef. “Die Berliner Datenbank von Metallanalysen kulturgeschichtlicher Objekte, pt. 2: Objekte aus Kupferlegierungen des 17./18. Jahrhunderts, der Renaissance und des Mittelalters.” Berliner Beiträge zur Archäometrie 17 (2000): 143–216.
SERRES 2011 Serres, Karen. “Emperor Charles V” (cat. 90). In Renaissance Faces: Van Eyck to Titian, edited by Lorne Campbell, 271–272. National Gallery, London, 2011.
SMITH 2012 Smith, Dylan. “Handheld Portable X-ray Fluorescence Analysis of Renaissance Bronzes: Practical Approaches to Quantification and Acquisition.” In Practical Handheld X-Ray Fluorescence for Art Conservation and Archaeology, edited by Aaron Shugar and Jennifer Mass, 37–74. Studies in Archaeological Sciences 3. Leuven, Belgium, 2012.
SMITH 2018 Smith, Dylan. “Copper Alloy Use in Sixteenth-Century Northern Italy Associated with the Workshop of Severo da Ravenna.” In Medieval Copper, Bronze and Brass: History, Archaeology and Archaeometry of the Production of Brass, Bronze and Other Copper Alloy Objects in Medieval Europe (12th–16th Centuries), edited by Nicolas Thomas and Pete Dandridge 285–296. Études et documents, Archéologie 39. Namur, Belgium, 2018.
SOLER DEL CAMPO 2009 Soler del Campo, Álvaro, ed. The Art of Power: Royal Armor and Portraits from Imperial Spain / El arte del poder: Armaduras y retratos de la España Imperial. Madrid, 2009.
STONE 1981 Stone, Richard E. “Antico and the Development of Bronze Casting in Italy at the End of the Quattrocento.” Metropolitan Museum Journal 16 (1981): 87–116.
THEOPHILUS 1963 Theophilus. On divers arts: The Treatise of Theophilus, translated by John G. Hawthorne and Cyril Stanley Smith. Chicago, 1963.
WELTER 2018 Welter, Jean-Marie. “Medieval and Renaissance Italian Statuary Copper Alloys.” In Medieval Copper, Bronze and Brass: History, Archaeology and Archaeometry of the Production of Brass, Bronze and Other Copper Alloy Objects in Medieval Europe (12th–16th Centuries), edited by Nicolas Thomas and Pete Dandridge, 271–284. Études et documents, Archéologie 39. Namur, Belgium, 2018.
The Mellon Mercury: Investigating a Giambologna Replica
ALDEN 1952 Alden, Edward C. Alden’s Oxford Guide: The Perfect Guide to Oxford. Oxford, 1952.
AVERY 1993 Avery, Charles. Giambologna: The Complete Sculpture. London, 1993.
AVERY AND RADCLIFFE 1978 Avery, Charles, and Anthony Radcliffe, eds. Giambologna: Sculptor to the Medici: 1529–1608. Arts Council of Great Britain, London, 1978.
BAKER 1982 Baker, Malcolm. “The History of the Cast Courts.” 1982. Victoria and Albert Museum website, www.vam.ac.uk/content/articles/t/the-cast-courts/ (accessed December 6, 2017).
BARBOUR AND GLINSMAN 1993 Barbour, Daphne, and Lisha Deming Glinsman. “An Investigation of Renaissance Casting Practices as a Means for Identifying Forgeries.” In Conservation Research, 14–29. Studies in the History of Art 41, Monograph Series II. National Gallery of Art. Washington, 1993.
BASSETT 2008 Bassett, Jane. The Craftsman Revealed: Adriaen de Vries, Sculptor in Bronze. Los Angeles, 2008.
BASSETT AND SCHERF 2014 Bassett, Jane, and Guilhem Scherf. “Jean-Antoine Houdon: Sculptor and Founder.” In Bourgarit et al. 2014, 107–124.
BAXANDALL 1966 Baxandall, Michael. “Hubert Gerhard and the Altar of Christoph Fugger: The Sculpture and Its Making,” Münchner Jahrbuch der bildenden Kunst 17 (1966): 127–144.
BEAUREGARD AND JULIEN 2014 Beauregard, Alain de, and Pascal Julien. “De Dame Tholose au Mercure Volant: Fondre en Languedoc aux XVI et XVII siècles.” In Bourgarit et al. 2014, 39–54.
BEWER 1995 Bewer, Francesca. “Studying the Technology of Renaissance Bronzes.” In Materials Research Society Symposium Proceedings, 352:710–709. Warrendale, PA, 1995.
BEWER 1999 Bewer, Francesca. “‘Kunststück von gegossenem Metal’ Adriaen de Vries’s Bronze Technique.” In Scholten 1999, 64–77.
BORGHINI (1584) 2007 Borghini, Raffaello. Il Riposo (1584), edited and translated by Lloyd H. Ellis. Toronto, 2007.
BOURGARIT ET AL. 2014 Bourgarit, David, Jane Bassett, Francesca G. Bewer, Genevieve Bresc-Bautier, Philippe Malgouyres, and Guilhem Scherf. French Bronze Sculpture, Materials and Techniques: 16th–18th Century. London, 2014.
CELLINI (1568) 1967 Cellini, Benvenuto. The Treatises of Benvenuto Cellini on Goldsmithing and Sculpture (1568), translated by Charles Robert Ashbee. New York, 1967.
COLE 2003 Cole, Michael. “The Medici Mercury and the Breath of Bronze.” In Large Bronzes in the Renaissance, edited by Peta Motture, 128–153. Washington, 2003.
CUPPERI 2006 Cupperi, Walter. “Mercurio in volo” (cat. 52). In Strozzi and Zikos 2006, 258.
DEVONSHIRE 1844–1845 Sixth Duke of Devonshire. Handbook of Chatsworth. Derbyshire, 1844–1845.
DEVONSHIRE 2000 Duchess of Devonshire. Chatsworth Guidebook. Derby, 2000.
DI DIO 2003 Di Dio, Kelley Helmstutler. “Leone Leoni’s Collection in the Casa Degli Omenoni, Milan: The Inventory of 1609.” Burlington Magazine 145, no. 1205 (August 2003): 572–578.
DUVEEN BROTHERS 1944 Duveen Brothers. Duveen Sculpture in Public Collections of America: A Catalogue Raisonné with Illustrations of Italian Renaissance Sculptures by the Great Masters Which Have Passed through the House of Duveen. New York, 1944.
FREDERIKSEN AND MARCHAND 2010 Frederiksen, Rune, and Eckart Marchand, eds. Plaster Casts: Making, Collecting and Displaying from Classical Antiquity to the Present. New York, 2010.
GRISWOLD, HESS, AND BASSETT ET AL. 2014 Griswold, John, Catherine Hess, and Jane Bassett, with Geneviève Bresc-Bautier, Michel Bouchard, and Rupert Harris. “Casts after the Antique by Hubert Le Suer.” In Bourgarit et al. 2014, 56–75.
HASKELL AND PENNY 1981 Haskell, Francis, and Nicholas Penny, Taste and the Antique: The Lure of Classical Sculpture, 1500–1900. New Haven, 1981.
HEGINBOTHAM 2014 Heginbotham, Arlen. “Bronzes dorés: A Technical Approach to Examination and Authentication of French Gilt Bronze.” In Bourgarit et al. 2014, 150–165.
HILL, MEURER, AND RAVEN 2010 Hill, Marsha, Georg Meurer, and Maarten Raven. “Rediscovering Grigory Stroganoff as a Collector of Egyptian Art.” Journal of the History of Collections 22, no. 2 (November 2010): 289–306.
HOLDERBAUM 1966 Holderbaum, James. Giambologna. Milan, 1966.
HOLDERBAUM 1983 Holderbaum, James. The Sculptor Giovanni Bologna. New York, 1983.
HONOUR 1963 Honour, Hugh. “After the Antique: Some Italian Bronzes of the Eighteenth Century.” Apollo 77 (March 1963): 194–200.
HUNTER-STIEBEL 2000 Hunter-Stiebel, Penelope, ed. Stroganoff: The Palace and Collections of a Russian Noble Family. Portland (Ore.) Art Museum, Harry N. Abrams, New York, 2000.
KOROLEV 2011 Korolev, Evgenij. Gosudarstvennyi muzei-zapovednik Pavlovsk: Polnyi katalog kollektsii, tom III, Skul’ptura, vypusk 2, Skul’ptura pavlovskogo parka. [Pavlovsk State Museum-Preserve: Complete Catalog of the Collections, vol. III, Sculpture, part 2, Sculpture of Pavlovsk Park]. Pavlovsk, 2011.
KORSHUNOVA 2000 Korshunova, Militsa. “The Stroganoff Collectors.” In Hunter-Stiebel 2000, 77–87.
LAPAUZE 1924 Lapauze, Henry. Histoire de l’Académie de France a Rome, vol. 2, 1802–1910. Paris, 1924.
LEITHE-JASPER 2006 Leithe-Jasper, Manfred. “Il Mercurio Volante: Il Problema della Figura Serpentinata.” In Strozzi and Zikos 2006, 254–257.
LUCIANO 2012 Luciano, Eleonora. “A More ‘Modern’ Ghiberti: The Saint Matthew for Orsanmichele.” In Orsanmichele and the History and Preservation of the Civic Monument, edited by Carl Brandon Strehlke, 213–242. Studies in the History of Art 76, Symposium Papers LIII. National Gallery of Art, Washington, 2012.
MAXWELL 2011 Maxwell, Susan. The Court Art of Friedrich Sustris: Patronage in Late Renaissance Bavaria. Farnham, 2011.
MOUREYRE AND PELTZ 2014 de la Moureyre, Françoise, and Uwe Peltz. “The Dresden Bronze of the Bath of Apollo: A Model, Not a Copy.” In Bourgarit et al. 2014, 125–138.
MÜNTZ 1896 Müntz, Eugène. “Les collections d’antiques formées par les Medicis au XVIe siècle.” Memories de l’Institut National de France: Académie des Inscriptions et Belle-Lettres 35, no. 2 (1896): 109–114.
OZONE AND STURMAN 2003 Ozone, Judy, and Shelley Sturman. “Technical Investigation of the Mellon ‘Venus’ and ‘Bacchus and a Faun.’” In Large Bronzes in the Renaissance, edited by Peta Motture, 202–213. Studies in the History of Art 64, Symposium Papers XLI. National Gallery of Art, Washington, 2003.
PENNY 1992 Penny, Nicholas. Catalogue of European Sculpture in the Ashmolean Museum. Clarendon, 1992.
RIEDERER 1980 Riederer, Josef. “Metallanalysen von Statuetten der Wurzelbauer-Werkstatt in Nüremberg.” Berliner Beiträge zur Archäometrie 5 (1980): 43–58.
RIEDERER 1982A Riederer, Josef. “Metallanalysen Nuernberger Statuetten aus der Zeit der Labenwolf-Werkstatt.” Berliner Beiträge zur Archäometrie 7 (1982): 94–100.
RIEDERER 1982B Riederer, Josef. “Die Zusammensetzung deutscher Renaissancestatueetten aus Kupferlegierungen.” Zeitschrift Deutscher fürVerein Kunstwissenschaft 36 (1980): 42–48.
RIEDERER 1983 Riederer, Josef. “Metallanalysen an Erzeugnissen der Vischer-Werkstatt.” Berliner Beiträge zur Archäometrie 8 (1983): 89–99.
RIEDERER 1988 Riederer, Josef. “Mettalanalysen Augsburger Bronze- und Messingskulpturen des 16. Jahrhunderts.” Berliner Beiträge zur Archäometrie 10 (1988): 85–95.
RIZZO 2012 Rizzo, Giuseppe. “Clemente Papi ‘Real Fonditore’: Life and Works of a Virtuosistico Maestro del Bronzo in Florence of the XIX Century.” Mitteilungen des Kunsthistorischen Institutes in Florenz, Max-Planck Institut 54, no. 2 (2012): 295–318.
RIZZO 2018 Rizzo, Giuseppi. “Part 1, Clemente Papi: From Plaster Maker to Royal Bronze Founder,” Guest Post blog, February 22, 2018, Victoria and Albert Museum website, https://www.vam.ac.uk/blog/projects/guest-post-part-1-clemente-papi-from-plaster-maker-to-royal-bronze-founder/ (accessed October 21, 2018).
SCHOLTEN 1999 Scholten, Frits. Adriaen de Vries, 1556–1626. Rijksmuseum, Zwolle, 1999.
SEYMOUR 1968 Seymour, Charles, Jr. “The Mercury in the Rotunda of the National Gallery of Art.” Pt. 1. Report and Studies in the History of Art 2 (1968): 1–25.
SMITH 2013 Smith, Dylan. “Technical Characteristics of Bronze Statuettes from the Workshops of Antonio and Giovanni Francesco Susini.” In The Renaissance Workshop, edited by David Saunders, Marika Spring, and Andrew Meek, 29–41. London, 2013.
STEINBERG 1973 Steinberg, Arthur. “Joining Methods on Large Bronze Statues: Some Experiments in Ancient Technology.” In Application of Science in Examination of Works of Art, edited by William J. Young, 103–38. Boston, 1973.
STONE 1981 Stone, Richard E. “Antico and the Development of Bronze Casting in Italy at the End of the Quattrocento.” Metropolitan Museum Journal 16 (1981): 87–116.
STONE 2001 Stone, Richard E. “A New Interpretation of the Casting of Donatello’s Judith and Holofernes.” In Small Bronzes in the Renaissance, edited by Debra Pincus, 54–67. Studies in the History of Art 63, Symposium Papers XXXIX. National Gallery of Art, Washington, 2001.
STROZZI AND ZIKOS 2006 Strozzi, Beatrice Paolozzi, and Dimitrios Zikos, eds. Giambologna: Gli Dei, Gli Eroi. Museo Nazionale del Bargello, Firenze, 2006.
STURMAN 2001 Sturman, Shelley. “Giambologna and the Female Nude.” In Small Bronzes in the Renaissance, edited by Debra Pincus, 120–141. Studies in the History of Art 63, Symposium Papers XXXIX. National Gallery of Art, Washington, 2001.
STURMAN AND SMITH 2007 Sturman, Shelley, and Dylan Smith. “La porta della Sacrestia di San Marcodi Jacopo Sansovino: Risultati Preliminary di un’indagine.” In L’Industria Artistica del Bronzo del Rinascimento a Venezia e Nell’Italia Settentrionale, 447–458. Atti del Convegno Internazionale di Studi Venezia, Fondazione Giorgio Cini. Venice, 2007.
STURMAN AND SMITH 2013 Sturman, Shelley, and Dylan Smith. “Italian Renaissance Bronzes: Alloy Analysis, Artist and Interpretation.” In Carvings, Casts and Collectors: The Art of Renaissance Sculpture, edited by Peta Motture, Emma Jones, and Dimitrios Zikos, 160–175. London, 2013.
SYNDRAM 2006 Syndram, Dirk. “Merkur.” In Giambologna in Dresden: Die Geschenke der Medici, edited by Dirk Syndram, Moritz Woelk, and Martina Minning, 10–17. Munich, 2006.
TEOLATO 2016 Teolato, Chiara. Hopfgarten and Jollage Rediscovered: Two Berlin Bronzists in Napoleonic and Restoration Rome, translated by Sophie Henderson. Rome, 2016.
VACCARI 2006 Vaccari, Maria Grazia. “Mercurio” (cat. 57). In Strozzi and Zikos 2006, 268–269.
VASARI (1568) 1878–1885 Vasari, Giorgio. Le Vite de’ piu eccellenti pittori, scultori ed architettori scritte da Giorgio Vasari pittore Aretino con nuove annotazioni e commenti di Gaetano Milanesi (1568). 9 vols. Florence, 1878–1885.
WELTER 2018 Welter, Jean-Marie. “Medieval and Renaissance Italian Statuary Copper Alloys.” In Medieval Copper, Bronze and Brass: History, Archaeology and Archaeometry of the Production of Brass, Bronze and Other Copper Alloy Objects in Medieval Europe (12th–16th Centuries), edited by Nicolas Thomas and Pete Dandridge, 271–284. Études et documents, Archéologie 39. Namur, Belgium, 2018.
ZORACH 1947 Zorach, William. Zorach Explains Sculpture: What It Means and How It Is Made. New York, 1947.
Auguste Rodin and the Question of the Original in Sculpture
BEAUSIRE ET AL. 1985–1992 Beausire, Alain, et al., eds. Correspondance de Rodin, 1860–1917. 4 vols. Paris, 1985–1992.
BENJAMIN 1936 Benjamin, Walter. “L’oeuvre d’art à l’époque de sa reproduction mécanisée.” Zeitschrift für Sozialforschung 5 (1936): 40–68.
CARIOU AND GALLISSOT 2010 Cariou, André, and Nathalie Gallissot, eds. Rodin: Les Ombres. Quimper: Musée des Beaux-Arts, 2010.
CHEVILLOT AND LE NORMAND-ROMAIN 2017 Chevillot, Catherine, and Antoinette Le Normand-Romain, eds. Rodin: Le livre du centenaire. Grand Palais, Paris, 2017.
CZESTOCHOWSKI AND PINGEOT 2002 Czestochowski, Joseph S., and Anne Pingeot, eds. Degas Sculpture: Catalogue Raisonné of the Bronzes. Memphis, TN, 2002.
GALERIE GEORGES PETIT 1889 Galerie Georges Petit. Claude Monet—Auguste Rodin. Paris, 1889.
GEFFROY 1889 Geffroy, Gustave. “Le statuaire Rodin.” Les Lettres et les Arts 15 (September 1889): 289–304.
HERRERA AND LE NORMAND-ROMAIN 2001 Herrera, Maria-José, and Antoinette Le Normand-Romain, eds. Rodin en Buenos Aires: Su influencia y la de otros escultores franceses en la Argentina. Musée national de Bellas Artes, Buenos Aires, 2001.
HINNERS AND LE NORMAND-ROMAIN 2015 Hinners, Linda, and Antoinette Le Normand-Romain, eds. Rodin: Auguste Rodin (1840–1917) and the Nordic Countries. Nationalmuseum, Stockholm, 2015.
LEBON 2003 Lebon, Elisabeth. Dictionnaire des fondeurs de bronze d’art: France, 1890–1950. Perth, Australia, 2003.
LE NORMAND-ROMAIN 1990 Le Normand-Romain, Antoinette. “Fragments tirés d’un ensemble II. Bourdelle: Le monument aux morts de Montauban.” In Le Corps en morceaux, edited by Anne Pingeot, 225–236. Musée d’Orsay, Paris, 1990.
LE NORMAND-ROMAIN 1996 Le Normand-Romain, Antoinette, ed. Rodin: Les marbres de la collection Thyssen. Musée Rodin, Paris, 1996.
LE NORMAND-ROMAIN 2001 Le Normand-Romain, Antoinette, ed. Rodin en 1900: L’exposition de l’Alma. Musée du Luxembourg, Paris, 2001.
LE NORMAND-ROMAIN 2007 Le Normand-Romain, Antoinette. Rodin et le bronze: Catalogue des oeuvres conservées au musée Rodin / The Bronzes of Rodin: Catalogue of Works in the Musée Rodin. 2 vols. Paris, 2007.
LE NORMAND-ROMAIN 2017 Le Normand-Romain, Antoinette. “Au faîte de la renommée.” In Chevillot and Le Normand-Romain 2017, 172–177.
LE NORMAND-ROMAIN AND MADELINE 2014 Le Normand-Romain, Antoinette, and Laurence Madeline, eds. Rodin: L’accident; L’aléatoire. Musée d’art et d’histoire, Geneva, 2014.
LEVENSON ET AL. 1982–1988 Levenson, J. C., et al. The Letters of Henry Adams. 6 vols. Cambridge, MA, 1982–1988.
MARANDEL 1987–1988 Marandel, Patrice J. “Rodin’s Thinker: Notes on the Early History of the Detroit Cast.” Bulletin of the Detroit Institute of Arts 62, no. 4 (1987): 33–52; 63, nos. 3–4 (1988): 33–55.
MOUREY 1904 Mourey, Gabriel. “Le Penseur de Rodin offert par Souscription publique au Peuple de Paris.” Les Arts de la Vie 1, no. 5 (May 1904): 267–270.
RIONNET 2016 Rionnet, Florence. Les Bronzes Barbedienne: L’oeuvre d’une dynastie de fondeurs (1834–1954). Paris, 2016.
TAFT 1900 Taft, Lorado. “Rodin in His Studio: Visit to the Great Sculptor.” Chicago Record, June 16, 1900, clipping in Musée Rodin archives.
Vincent van Gogh’s Three Portraits of Marcelle Roulin
ALLAN 2016 Allan, Scott. “‘A Method Matters Little’: Rousseau’s Working Procedures as a Painter.” In Unruly Nature: The Landscapes of Théodore Rousseau, edited by Scott Allan and Édouard Kopp, with Line Clausen Pedersen, 23–43. J. Paul Getty Museum, Los Angeles, 2016.
BERNARD 1911 Bernard, Émile, ed. Lettres de Vincent van Gogh à Emile Bernard. Paris, 1911.
BURNSTOCK ET AL. 2005 Burnstock, Aviva, Ibby Lanfear, Klaas Jan van den Berg, Leslie Carlyle, Mark Clarke, Ella Hendriks, and Jo Kirby. “Comparison of the Fading and Surface Deterioration of Red Lake Pigments in Six Paintings by Vincent van Gogh with Artificially Aged Paint Reconstructions.” In ICOM-CC 14th Triennial Meeting, The Hague, 12–16 September 2005, Preprints, edited by Isabelle Sourbès-Verger, 459–466. The Hague, 2005.
CALORIN 1991 Calorin, Paolo. “Colour Fading in Van Gogh and Gauguin.” In A Closer Look, Technical and Art-Historical Studies on Works by Van Gogh and Gauguin, edited by Cornelia Peres, Michael Hoyle, and Louis van Tilborgh, 104–113. Zwolle, 1991.
CENTENO ET AL. 2017 Centeno, Silvia A., Charlotte Hale, Federico Carò, Anna Cesaratto, Nobuko Shibayama, John Delaney, Kathryn Dooley, Geert van der Snickt, Koen Janssens, and Susan Alyson Stein. “Van Gogh’s Irises and Roses: The Contribution of Chemical Analyses and Imaging to the Assessment of Color Changes in the Red Lake Pigments.” Heritage Science (2017) 5:18, online at doi.org/10.1186/s40494-017-0131-8 (accessed June 18, 2018).
DE LA FAILLE 1970 De la Faille, Jacob Baart. The Works of Vincent van Gogh: His Paintings and Drawings. Amsterdam, 1970.
DORN 1990 Dorn, Roland. Vincent van Goghs Werkreihe für das Gelbe Haus in Arles. Hildesheim, 1990.
DORN 2000 Dorn, Roland. “Zur Malerei Van Goghs, 1884–1886: ‘Le Moulin de la Galette’; Studie, Wiederholung, Kopie von anderer Hand?” In Georges-Bloch-Jahrbuch des Kunsthistorischen Instituts der Universität Zürich 7 (2000): 157–177.
DRUICK AND ZEGERS 2001 Druick, Douglas W., and Peter Kort Zegers. Van Gogh and Gauguin: Studio of the South. Art Institute of Chicago, Chicago, 2001.
FARRELL AND NEWMAN 1984 Farrell, Eugene, and Richard Newman. “Van Gogh’s Painting Materials: An Analysis of the ‘Self-Portrait Dedicated to Paul Gauguin’ and Other Arles Period Paintings.” In Vincent van Gogh’s ‘Self-Portrait Dedicated to Paul Gauguin’: An Historical and Technical Study, edited by Vojtech Jirat-Wasiutynski, H. Travers Newton, Eugene Farrell, and Richard Newman, 28–39. Cambridge, MA, 1984.
FEILCHENFELDT 2013 Feilchenfeldt, Walter. Vincent Van Gogh: The Years in France; Complete Paintings, 1886–1890. London, 2013.
FIEDLER ET AL. 2016 Fiedler, Inge, Ella Hendriks, Teio Meedendorp, Michel Menu, and Johanna Salvant. “Materials, Intention, and Evolution: Van Gogh’s Bedrooms.” In Van Gogh’s Bedrooms, edited by Gloria Groom, 68–103. Art Institute of Chicago, New Haven, 2016.
GELDOF ET AL. 2013 Geldof, Muriel, Matthijs de Keijzer, Maarten van Bommel, Kathrin Pilz, Johanna Salvant, Henk van Keulen, and Luc Megens. “Van Gogh’s Geranium Lake.” In Van Gogh’s Studio Practice, edited by Marije Vellekoop, Muriel Geldof, Ella Hendriks, Leo Jansen, and Alberto de Tagle, 268–289. Brussels, 2013.
GELDOF, MEGENS, AND SALVANT 2013 Geldof, Muriel, Luc Megens, and Johanna Salvant. “Van Gogh’s Palette in Arles, Saint-Rémy and Auvers-sur-Oise.” In Van Gogh’s Studio Practice, edited by Marije Vellekoop, Muriel Geldof, Ella Hendriks, Leo Jansen, and Alberto de Tagle, 238–256. Brussels, 2013.
GOMBRICH 1982 Gombrich, Ernst H. “The Mask and the Face: The Perception of Physiognomic Likeness in Life and Art.” In The Image and the Eye: Further Studies in the Psychology of Pictorial Representation edited by Ernst H. Gombrich, 105–136. Oxford, 1982.
HENDRIKS 2016 Hendriks, Ella. “‘Paintings Fade Like Flowers’: Consequences of Colour Change in Paintings by Vincent van Gogh.” In Colour Change in Paintings, edited by Rhiannon Clarricoates, Helen Dowding, and Alexandra Gent, 39–51. London, 2016.
HENDRIKS AND VAN TILBORGH 2001 Hendriks, Ella, and Louis van Tilborgh. “Van Gogh’s ‘Garden of the Asylum’: Genuine or Fake?” Burlington Magazine 143 (March 2001): 145–156.
HOERMANN LISTER 2001 Hoermann Lister, Kristin. “Tracing a Transformation: Madame Roulin into La Berceuse.” Van Gogh Museum Journal (2001): 63–83.
HOUSE 1986 House, John. Monet: Nature into Art. New Haven, 1986.
HOUSE 2004 House, John. Impressionism: Paint and Politics. New Haven, 2004.
HUYGHE 1952 Huyghe, René. Le carnet de Paul Gauguin. 2 vols. Paris, 1952.
JANSEN, LUIJTEN, AND BAKKER 2009 Jansen, Leo, Hans Luijten, and Nienke Bakker, eds. Vincent van Gogh: The Letters. Amsterdam: Van Gogh Museum, 2009, online in an electronic edition, updated annually, www.vangoghletters.org.
KELLY 2007 Kelly, Simon. “Strategies of Repetitions: Millet/Corot.” In The Repeating Image: Multiples in French Painting from David to Matisse, edited by Eik Kahng, 53–81. Walters Art Museum, Baltimore, New Haven, 2007.
KIRCHNER ET AL. 2018A Kirchner, Eric, Ivo van der Lans, Frank Ligterink, Muriel Geldof, Art Ness Proano Gaibor, Ella Hendriks, Koen Janssens, and John Delaney. “Digitally Reconstructing Van Gogh’s Field with Irises near Arles, pt. 2: Pigment Concentration Maps.” Color Research and Application 43, no. 2 (April 2018): 158–176, online at doi.org/10.1002/col.22164 (accessed June 18, 2018).
KIRCHNER ET AL. 2018B Kirchner, Eric, Ivo van der Lans, Frank Ligterink, Muriel Geldof, Art Ness Proano Gaibor, Teio Meedendorp, Kathrin Pilz, and Ella Hendriks. “Digitally Reconstructing Van Gogh’s Field with Irises near Arles, pt. 3: Determining the Original Colors.” Color Research and Application 43, no. 3 (June 2018): 311–327, online at doi.org/10.1002/col.22197 (accessed June 18, 2018).
LEIGHTON ET AL. 1987 Leighton, John, White. “Vincent van Gogh’s ‘A Cornfield with Cypresses.’” National Gallery Technical Bulletin 11 (1987): 36–59.
MAINARDI 2000 Mainardi, Patricia. “The Nineteenth-Century Art Trade: Copies, Variations, Replicas.” Van Gogh Museum Journal (2000): 63–73.
PERLS 1962 Perls, Hugo. Warum ist Kamilla schön? Von Kunst, Künstlern und Kunsthandel. Munich, 1962.
PICKVANCE 1989 Pickvance, Ronald. Van Gogh et Arles. Ancien Hôtel Van Gogh, Arles, 1989.
PICKVANCE 2000 Pickvance, Ronald. Van Gogh. Fondation Pierre Gianadda, Martigny, 2000.
PILZ ET AL. 2013 Pilz, Kathrin, Muriel Geldof, Luc Megens, and Nienke Bakker. “Van Gogh’s Copies from Saint-Rémy: Between Reminiscence, Calculation and Improvisation.” In Van Gogh’s Studio Practice, edited by Marije Vellekoop, Muriel Geldof, Ella Hendriks, Leo Jansen, and Alberto de Tagle, 106–131. Brussels, 2013.
RATHBONE ET AL. 2013 Rathbone, Eliza E., William H. Robinson, Elizabeth Steele, and Marcia Steele. Van Gogh Repetitions. Phillips Collection, Washington, New Haven, 2013.
RIOUX 1999 Rioux, Jean-Paul. “The Discolouration of Pinks and Purples in Van Gogh’s Paintings from Auvers.” In Cézanne to Van Gogh: The Collection of Doctor Gachet, edited by Anne Distel and Susan Alyson Stein, 104–113. Metropolitan Museum of Art, New York, 1999.
ROSENBLUM 1988 Rosenblum, Robert. The Romantic Child: From Runge to Sendak. London, 1988.
ROY AND HENDRIKS 2016 Ashok, Roy, and Ella Hendriks. “Van Gogh’s Sunflowers in Amsterdam and London.” National Gallery Technical Bulletin 37 (2016): 60–77.
SALVANT ET AL. 2013 Salvant, Johanna, Muriel Geldof, Elisabeth Ravaud, Luc Megens, Charlotte Walbert, Michel Menu, and Don H. Johnson. “Investigation of the Grounds of Tasset et L’Hôte Commercially Primed Canvas Used by Van Gogh in the Period 1888 to 1890.” In Van Gogh’s Studio Practice, edited by Marije Vellekoop, Muriel Geldof, Ella Hendriks, Leo Jansen, and Alberto de Tagle, 182–201. Brussels, 2013.
SCHAEFER, VON SAINT-GEORGE, AND LEWERENTZ 2008 Schaefer, Iris, Caroline von Saint-George, and Katja Lewerentz. Impressionismus: Wie das Licht auf die Leinwand kam. Wallraf-Richartz-Museum & Fondation Corboud, Cologne, 2008.
STOKVIS 1929A Stokvis, Benno J. “Vincent van Gogh in Arles.” De Groene Amsterdammer, July 27, 1929, 26.
STOKVIS 1929B Stokvis, Benno J. “Vincent van Gogh in Arles.” Kunst und Künstler: Illustrierte Monatsschrift für bildende Kunst und Kunstgewerbe 27 (1929): 470–474.
VAN BOMMEL, GELDOF, AND HENDRIKS 2005 Van Bommel, Maarten, Muriel Geldof, and Ella Hendriks. “An Investigation of Organic Red Pigments Used in Paintings by Vincent van Gogh (November 1885 to February 1888).” Art Matters 3 (2005): 111–138.
VAN TILBORGH 2018 Van Tilborgh, Louis. “In the Light of Japan: Van Gogh’s Quest for a Modern Identity and Happiness.” In Van Gogh and Japan, edited by Louis van Tilborgh, Nienke Bakker, Cornelia Homburg, Tsukasa Kodera, Chris Uhlenbeck, and Claire Guitton, 40–91. Van Gogh Museum, Amsterdam, 2018.
VAN TILBORGH ET AL. 2012 Van Tilborgh, Louis, Teio Meedendorp, Ella Hendriks, Don H. Johnson, C. Richard Johnson Jr., and Robert G. Erdmann. “Weave Matching and Dating of Van Gogh’s Paintings: An Interdisciplinary Approach.” Burlington Magazine 154 (February 2012): 112–122.
VAN TILBORGH AND HENDRIKS 2001 Van Tilborgh, Louis, and Ella Hendriks. “The Tokyo Sunflowers: A Genuine Repetition by Van Gogh or a Schuffenecker Forgery?” Van Gogh Museum Journal (2001): 16-43.
VAN TILBORGH, MEEDENDORP, AND VAN MAANEN 2013 Van Tilborgh, Louis, Teio Meedendorp, and Oda van Maanen. “‘Sunset at Montmajour’: A Newly Discovered Painting by Vincent van Gogh.” Burlington Magazine 155 (October 2013): 696–705.
VAN TILBORGH AND VAN UITERT 1990 Van Tilborgh, Louis, and Evert van Uitert. “A Ten-Year Career: The Oeuvre of Vincent van Gogh.” In Vincent van Gogh: Paintings, edited by Evert van Uitert, Louis van Tilborgh, and Sjraar van Heugten, 15–26. Van Gogh Museum, Amsterdam, 1990.
The Story Not Told: The Examination and Treatment of Edward Steichen’s Oochens Series
AIC BOOK AND PAPER GROUP 1994 American Institute for Conservation, Book and Paper Group. “Inpainting.” In The Paper Conservation Catalogue, 1–34. Washington, 1994.
ASH ET AL. 2014 Ash, Nancy, Scott Homolka, Stephanie Lussier, Rebecca Pollak, and Eliza Spaulding. “Descriptive Terminology for Works of Art on Paper: Guidelines for the Accurate and Consistent Description of the Materials and Techniques of Drawings, Prints, and Collages.” (2014), www.philamuseum.org/doc_downloads/conservation/DescriptiveTerminologyforArtonPaper.pdf (accessed October 26, 2018).
BERRIE ET AL. 2015 Berrie, Barbara, Francesca Casadio, Kristi Dahm, Yoonjoo Strumfels, Martha Tedeschi, and Judith Walsh. “A Vibrant Surface: Investigating Color, Texture, and Transparency in Winslow Homer’s Watercolors.” In Science and Art: The Painted Surface, edited by Antonio Sgamellotti, Brunetto G. Brunetti, and Costanza Miliani, 404–427. Cambridge, UK, 2015.
CASADIO ET AL. 2012 Casadio, Francesca, Anikó Bezúr, Inge Fiedler, Kim Muir, Tarek Trad, and Sonia Maccagnola. “Pablo Picasso to Jasper Johns: A Raman Study of Cobalt-Based Synthetic Inorganic Pigments.” Journal of Raman Spectroscopy 43, no. 11 (2012): 1761–1771.
COHN 1977 Cohn, Marjorie B. Wash and Gouache: A Study of the Development of the Materials of Watercolor. Fogg Art Museum, Cambridge, Center for Conservation and Technical Studies, 1977.
CORBEIL, CHARLAND, AND MOFFATT 2002 Corbeil, Marie-Claude, Jean-Pierre Charland, and Elizabeth A. Moffatt. “The Characterization of Cobalt Violet Pigments.” Studies in Conservation 47, no. 4 (2002): 237–249.
DEPIETRO 1985 DePietro, Anne Cohen. The Paintings of Eduard Steichen. Heckscher Museum, Huntington, NY, 1985.
FIEDLER AND BAYARD 1986 Fiedler, Inge, and Michael Bayard. “Cadmium Yellows, Oranges, and Reds.” In Artists’ Pigments: A Handbook of Their History and Characteristics, edited by Robert L. Feller, 1:65–108. Washington, 1986.
FIEDLER AND BAYARD 1997 Fiedler, Inge, and Michael Bayard. “Emerald Green and Scheele’s Green.” In Artists’ Pigments: A Handbook of Their History and Characteristics, edited by Elizabeth West FitzHugh, 3:219–271. Washington, 1997.
GOLEY 1988 Goley, Mary Anne. From Tonalism to Modernism: The Paintings of Eduard J. Steichen. Washington, 1988.
HASKELL 2000 Haskell, Barbara. Edward Steichen. Whitney Museum of American Art, New York, 2000.
JENNISON 1920 Jennison, Francis H. The Manufacture of Lake Pigments from Artificial Colours. 2nd ed. London, 1920.
KEUNE ET AL. 2013 Keune, Katrien, Jaap J. Boon, Rene Boitelle, and Y. Shimadzu. “Degradation of Emerald Green in Oil Paint and Its Contribution to the Rapid Change in Colour of the Descente des Vaches (1834–1835) Painted by Théodore Rousseau.” Studies in Conservation 58, no. 3 (2013): 199–210.
KIRBY, SPRING, AND HIGGITT 2007 Kirby, Jo, Marika Spring, and Catherine Higgitt. “The Technology of Eighteenth- and Nineteenth-Century Red Lake Pigments.” National Gallery Technical Bulletin 28 (2007): 69–95.
KRILL 2001 Krill, John. English Artists’ Paper: Renaissance to Regency. New Castle, DE, 2001.
LIVIO 2002 Livio, Mario. The Golden Ratio: The Story of Phi, the World’s Most Astonishing Number. New York, 2002.
MASS ET AL. 2013 Mass, Jennifer L., Robert Opila, Barbara Buckley, Marine Cotte, Jonathan Church, and Apurva Mehta. “The Photodegradation of Cadmium Yellow Paints in Henri Matisse’s Le Bonheur de Vivre (1905–1906).” Applied Physics A 111, no. 1 (2013): 59–68.
MAYER 1961 Mayer, Grace. “Biographical Outline.” In Sandburg et al. 1961, 69–75.
MAZZEO ET AL. 2008 Mazzeo, Rocco, Silvia Prati, Marta Quaranta, Edith Joseph, Elsebeth Kendix, and Monica Galeotti. “Attenuated Total Reflection Micro FTIR Characterisation of Pigment–Binder Interaction in Reconstructed Paint Films.” Analytical and Bioanalytical Chemistry 392, nos. 1–2 (2008): 65–76.
MICHALSKI ET AL. 1998 Michalski, Stefan, Carole Dignard, Lori van Handel, and David Arnold. “The Ultrasonic Mister: Applications in the Consolidation of Powdery Paint on Wooden Artifacts.” In Painted Wood: History and Conservation; Proceedings of a Symposium Organized by the Wooden Artifacts Group of the American Institute for Conservation of Historic and Artistic Works, 498–513. Los Angeles, 1998.
NIVEN 1997 Niven, Penelope. Edward Steichen: A Biography. New York, 1997.
O’LOUGHLIN AND JEWELL 2013 O’Loughlin, Elissa, and Stephanie Jewell. “Two New Techniques for Loss Compensation in Art on Paper: Integration of Surface Losses Using Textile Fibers and the Use of Sprayed Cellulose Powder to Minimize Foxing and Other Discoloration.” The Book and Paper Group Annual 32 (2013): 52.
PATAKI 2005 Pataki, Andrea. “Consolidation of White Chalk with Aerosols.” In Triennial Meeting (14th), The Hague, September 12–16, 2005: Preprints, 223–230. London, 2005.
POLLACK 2014 Pollack, Becca. “Tip 8: Cellulose Powder.” In American Institute for Conservation, 42nd Annual Meeting: Book and Paper Group Tips Session, May 30, 2014, moderated by Emily Rainwater, AIC Blog (Archived), http://www.conservators-converse.org/2014/06/42nd-annual-meeting-bpg-tips-session-may-30-moderated-by-emily-rainwater/ (accessed October 10, 2017).
QUANDT 1996 Quandt, Abigail. “Recent Developments in the Conservation of Parchment Manuscripts.” The Book and Paper Group Annual 15 (1996): 99–115.
REINKOWSKI-HÄFNER 2016 Reinkowski-Häfner, Eva. “Tempera: On the History of a Technical Term.” In Painting in Tempera, c. 1900, edited by Karoline Beltinger and Jilleen Nadolny, 10–23. Zurich, 2016.
SANDBURG 1929 Sandburg, Carl. Steichen the Photographer. New York, 1929.
SANDBURG ET AL. 1961 Sandburg, Carl, et al. Steichen the Photographer. Museum of Modern Art, Garden City, NY, 1961.
“SOLKA-FLOC” N.D. “Solka-Floc.” International Fiber Corporation website, http://www.ifcfiber.com/products/solkafloc.php (accessed November 4, 2013).
STEICHEN 1963 Steichen, Edward. A Life in Photography. Garden City, NY, 1963.
STEICHEN THE PHOTOGRAPHER CHECKLIST 1961 Steichen the Photographer checklist. Museum of Modern Art, March 28–May 30, 1961, https://www.moma.org/documents/moma_master-checklist_326228.pdf (accessed October 25, 2018).
VAN DER SNICKT ET AL. 2009 Van der Snickt, Geert, Joris Dik, Marine Cotte, Koen Janssens, Jakub Jaroszewicz, Wout De Nolf, Jasper Groenewegen, and Luuk Van der Loeff. “Characterization of a Degraded Cadmium Yellow (CdS) Pigment in an Oil Painting by Means of Synchrotron Radiation Based X-ray Techniques.” Analytical Chemistry 81, no. 7 (2009): 2600–2610.
WHITMORE, BAILIE, AND CONNORS 2000 Whitmore, Paul M., Catherine Bailie, and Sandra A. Connors. “Micro-Fading Tests to Predict the Result of Exhibition: Progress and Prospects.” In Tradition and Innovation: Advances in Conservation, IIC Melbourne Congress 2000, 200–205. Melbourne, 2000.
ZIESKE 2002 Zieske, Faith. “Paul Cézanne’s Watercolors: His Choice of Pigments and Papers.” In The Broad Spectrum: Studies in the Materials, Techniques, and Conservation of Color on Paper, edited by Harriet K. Stratis and Britt Salvesen, 89–100. London, 2002.
Jean Dubuffet: Molding a New Reality
ABADIE 2011 Abadie, Daniel. Dubuffet as Architect. Paris, 2011.
BARILLI 1978 Barilli, Renato. “Coucou Bazar, or an All-Encompassing Challenge to Nature.” In Fiat Invites You to an Encounter with Jean Dubuffet, 11–22. Turin, Italy, 1978.
BERNICKY 2007 Bernicky, Chantal. “The Organized Chaos of Jean Dubuffet: Investigating His Techniques and Materials.” In AIC Paintings Specialty Group Postprints, Providence, Rhode Island, June 16–19, 2006, edited by Helen Mar Parkin, 110–117. Philadelphia, 2007.
BOUVIER 2016 Bouvier, Rafael, ed. Jean Dubuffet: Metamorphoses of Landscape. Basel, 2016.
CRAGG 2011 Cragg, Tony, ed. Jean Dubuffet: Writings on Sculpture. Düsseldorf, 2011.
FRANZKE 1981 Franzke, Andreas. Dubuffet, translated by Robert Erich Wolf. New York, 1981.
GIBAULT AND WEBEL 2005 Gibault, François, and Sophie Webel. Fondation Dubuffet, 30 ans. Paris, 2005
JAEGER 2006 Jaeger, Jean-François. L’Hourloupe ou la foire aux mirages. Paris, 2006.
LOREAU 1973–1974 Loreau, Max. Catalogue des travaux de Jean Dubuffet, vols. 23–25. Paris, 1973–74.
LOREAU 1977 Loreau, Max. “L’Hourloupe et ses antecedents.” In Fondation Jean Dubuffet, 13–27. Val-de-Marne, 1977.
PRATT, HOULIHAN, AND ORDONEZ 1995 Pratt, Ellen, Patricia Houlihan, and Eugena Ordonez. “An Investigation into a Transferred Paint / Cast Resin Sculpture by Jean Dubuffet.” In From Marble to Chocolate: The Conservation of Modern Sculpture, edited by Jackie Heuman, 110–120. London, 1995.
PRINZHORN 1972 Prinzhorn, Hans. Artistry of the Mentally Ill: A Contribution to the Psychology and Psychopathy of Configuration, translated by Eric von Brockdorff. 2nd ed. Vienna, 1972.
ROWELL 1973 Rowell, Margit. “Jean Dubuffet: An Art on the Margins of Culture.” In Jean Dubuffet: A Retrospective, 19–34. Solomon R. Guggenheim Museum, New York, 1973.
SONODA, RIOUX, AND DUVAL 1993 Sonoda, Naoko, Jean-Paul Rioux, and Alain René Duval. “Identification des materiaux synthétiques dans les peintures modernes. 2, Pigments organiques et matière picturale.” Studies in Conservation 32, no. 2 (1993): 99–127.
WEBEL 2008 Webel, Sophie. “Welcome Parade: A Project with a Future” In Jean Dubuffet: Monumental Sculpture from the Hourloupe Cycle, 9. New York, 2008.
To Print on Air: Robert Rauschenberg’s Hoarfrost Editions
ALIGHIERI 1954 Alighieri, Dante. Inferno, translated by John Ciardi. New York, 1954.
ALLOWAY 1976 Alloway, Lawrence. Robert Rauschenberg. National Collection of Fine Arts, Smithsonian Institution, Washington, 1976.
BARNETT 1987 Barnett, Catherine. “The Trouble with Modern Art.” Art and Antiques 8 (October 1987): 109–116.
BENDINER 1982 Bendiner, Kenneth. “Robert Rauschenberg’s Canyon.” Arts Magazine 56, no. 10 (June 1982): 57–59.
“CELLOSOLVE ACETATE” N.D. “Cellosolve acetate.” In Museum of Fine Arts, Boston, Cameo: Conservation and Art Materials Encyclopedia Online, http://cameo.mfa.org/wiki/Cellosolve_acetate (accessed August 13, 2018).
CROW 2014 Crow, Thomas. The Long March of Pop: Art, Music, and Design, 1930–1995. New Haven, 2014.
DAVIDSON 2013 Davidson, Susan. “Mother of God.” Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, https://www.sfmoma.org/artwork/98.299/essay/mother-of-god/ (accessed October 25, 2018).
DIAMONSTEIN 1979 Diamonstein, Barbaralee. Inside New York’s Art World. New York, 1979.
FINE 1984 Fine, Ruth E. Gemini G.E.L.: Art and Collaboration. National Gallery of Art, Washington, 1984.
FINE, RITCHIE, AND WALZ 2001 Fine, Ruth E., Charles Ritchie, and Jonathan F. Walz. “Gemini G.E.L.: A Catalogue Raisonné, 1966–2005,” 2001, https://www.nga.gov/gemini/essay.htm (accessed December 19, 2017).
HESS 1977 Hess, Thomas B. “Replenishing Rauschenberg.” New York 10, no. 20 (May 16, 1977): 78–80.
KLÜVER 1981 Klüver, Billie. On the Record: Eleven Artists, 1963. New York, 1981.
KOTZ 1990 Kotz, Mary Lynn, Rauschenberg: Art and Life. New York, 1990.
KRAUSS 2002 Krauss, Rosalind. “Rauschenberg and the Materialized Image.” In Robert Rauschenberg, edited by Branden W. Joseph, 39–56. Cambridge, MA, 2002.
KRČMA 2016 Krčma, Ed. “‘To Use the Very Last Minute in My Life’: The Dante Drawings and the Classical Past.” In Leah Dickerman and Achim Borchardt-Hume, Robert Rauschenberg, 162–169. Museum of Modern Art, New York, 2016.
KRČMA 2017 Krčma, Ed. “‘Rauschenberg / Dante: Drawing a Modern Inferno. New Haven, 2017.
MORRIS 1981 Morris, Gay. “When Artists Use Photographs: Is It Fair Use, Legitimate Transformation or Rip-off?” ARTnews 80, no. 1 (January 1981): 102–106.
ROBERTS 2013 Roberts, Sarah. “Collection.” Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, https://www.sfmoma.org/artwork/72.26/essay/collection (accessed October 25, 2018).
TOMKINS 1964 Tomkins, Calvin. “Profiles: Moving Out.” New Yorker, February 29, 1964, 39–105.
WHITMORE, BAILIE, AND CONNORS 2000 Whitmore, Paul M., Catherine Bailie, and Sandra A. Connors. “Micro-Fading Tests to Predict the Result of Exhibition: Progress and Prospects.” In Tradition and Innovation: Advances in Conservation, IIC Melbourne Congress 2000, 200–205. Melbourne 2000.
Paolo Veronese’s Finding of Moses: A Reassessment
BRILLIANT 2012 Brilliant, Virginia, with Frederick Ilchman, eds. Paolo Veronese: A Master and His Workshop in Renaissance Venice. John and Mable Ringling Museum of Art, Sarasota, 2012.
BROWN 1989 Brown, Beverly Louise. “Replication and the Art of Veronese.” Studies in the History of Art 20 (1989): 111–124.
COCKE 1984 Cocke, Richard. Veronese’s Drawings. London, 1984.
COUTTS 1982 Coutts, Howard. “A Ricci Pastiche or a Copy of a Lost Veronese?” Arte Veneta 36 (1982): 230–232.
GOLDNER 1981 Goldner, George R. “A ‘Baptism of Christ’ by Veronese in the Getty Museum.” J. Paul Getty Museum Journal 9 (1981): 111–126.
PIGNATTI AND PEDROCCO 1995 Pignatti, Terisio, and Filipp Pedrocco. Veronese. 2 vols. Milan, 1995.
REARICK 1988 Rearick, W. R. The Art of Paolo Veronese. National Gallery of Art, Washington, 1988.
ROBISON 2014 Robison, Andrew. The Poetry of Light: Venetian Drawings from the National Gallery of Art, Washington. Museo Correr, Venice, 2014.
SALOMON 2014 Salomon, Xavier F. Veronese. National Gallery, London, 2014.
SCRASE 2011 Scrase, David. Italian Drawings at the Fitzwilliam Museum, Cambridge. Cambridge, 2011.
References
Next chapter