The Resource Methods and materials of painting of the great schools and masters

Methods and materials of painting of the great schools and masters

Label
Methods and materials of painting of the great schools and masters
Title
Methods and materials of painting of the great schools and masters
Creator
Subject
Genre
Language
eng
Summary
Unabridged and unaltered republication of the first edition originally published in 1847, under title "Materials for a history of oil painting."
Member of
Cataloging source
DLC
http://library.link/vocab/creatorDate
1793-1865
http://library.link/vocab/creatorName
Eastlake, Charles Lock
Index
no index present
LC call number
ND50
LC item number
.E2 1960
Literary form
non fiction
http://library.link/vocab/subjectName
  • Painting
  • Peinture
  • Painting
Label
Methods and materials of painting of the great schools and masters
Link
Instantiates
Publication
Note
"Unabridged and unaltered republication of the first edition ... published ... in 1847 under the title: Materials for a history of oil painting."
Carrier category
volume
Carrier category code
  • nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
v. 1. Connexion between the early history of painting and that of medicine -- The Ancients -- Earliest practice of oil painting -- Oil painting during the latter part of the fourteenth century ; Note on a Venetian manuscript in the British museum -- Practice of painting generally during the fourteenth century ; Note on a German manuscript in the public library at Strassburg -- Fresco painting and wax painting during the fourteenth century ; Note on some early specimens on English art -- Vasari's account of the method of oil painting introduced by Van Eyck ; Note on the introduction of oil painting into Italy -- Examination of Vasari's statements respecting the invention of Van Eyck -- Oleo-resinous vehicles -- Preparation of oils -- Methods of the Flemish school considered generally ; Note on the modes of strengthening Panels by Ledges or Battens -- Preparation of colours ; Note on the use of triptychs, &c. ; Note on the varnish prepared from the Olio d' Abezzo -- Practice of later masters ; Extracts from notes by Sir Joshua Reynolds ; Note on the Mayerne manuscript in the British Museum -- Additions and corrections ; Scriptural and historical subjects painted in England during the Reign of Henry III -- v. 2. Folco Portinari and his descendants, Hospital of S. Maria Nuova, Ancient Florentine academy of painters, Antonello da Messina, The Pollaiuoli ; Note on two copies of an inedited manuscript by Antonio Filarete -- Recapitulation of characteristics of early Flemish school, The varnish of tempera pictures, Improvements by Van Eyck, mixture of varnish with colours, Methods of painting -- Lorenzo di Credi, Leonardo da Vinci, Pietro Perugino, Francesco Francia -- Raphael, Fra Bartolommeo, Mariotto Albertinelli, Ridolfo Ghirlandajo, Grancacci, Bugiardini, Andrea del Sarto -- Correggio -- Venetian methods -- Professional essays: Colour, light, shade, Correggio, & c -- Necessity for definitions -- Negative lights and shades -- Natural harmonies -- Natural contrasts -- Finish -- Space -- Effect -- Chiaroscuro preparations, their effect, duly managed, of producing depth and richness -- Chiaroscuro preparations, transparent brown -- Depth of light tints -- Warm shadows -- Treatment of green and blue -- Oiling out -- Vehicle for shadows -- Transparent painting -- Depth; transparent medium -- Cool lights on red -- Oil painting -- Macchia -- Venetian process -- Bellini thinned his vehicle with linseed oil -- Warm outlines and shadows -- Neutral tints in white and other draperies -- Toning, to mitigate partial or general crudeness -- Texture; Contract of surface in scumbling -- Scumbling and retouching -- Crispness and sharpness before toning -- Glazing system -- Life in inanimate things -- Palette knife -- The gem-like quality -- Facility of execution -- Remedies -- How to compose and paint a single head -- On subjects for painting -- Means and end of art
Dimensions
21 cm
Extent
2 volumes
Lccn
61000459
Media category
unmediated
Media MARC source
rdamedia
Media type code
  • n
System control number
  • (OCoLC)00517899
  • (OCoLC)ocm00517899
Label
Methods and materials of painting of the great schools and masters
Link
Publication
Note
"Unabridged and unaltered republication of the first edition ... published ... in 1847 under the title: Materials for a history of oil painting."
Carrier category
volume
Carrier category code
  • nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
v. 1. Connexion between the early history of painting and that of medicine -- The Ancients -- Earliest practice of oil painting -- Oil painting during the latter part of the fourteenth century ; Note on a Venetian manuscript in the British museum -- Practice of painting generally during the fourteenth century ; Note on a German manuscript in the public library at Strassburg -- Fresco painting and wax painting during the fourteenth century ; Note on some early specimens on English art -- Vasari's account of the method of oil painting introduced by Van Eyck ; Note on the introduction of oil painting into Italy -- Examination of Vasari's statements respecting the invention of Van Eyck -- Oleo-resinous vehicles -- Preparation of oils -- Methods of the Flemish school considered generally ; Note on the modes of strengthening Panels by Ledges or Battens -- Preparation of colours ; Note on the use of triptychs, &c. ; Note on the varnish prepared from the Olio d' Abezzo -- Practice of later masters ; Extracts from notes by Sir Joshua Reynolds ; Note on the Mayerne manuscript in the British Museum -- Additions and corrections ; Scriptural and historical subjects painted in England during the Reign of Henry III -- v. 2. Folco Portinari and his descendants, Hospital of S. Maria Nuova, Ancient Florentine academy of painters, Antonello da Messina, The Pollaiuoli ; Note on two copies of an inedited manuscript by Antonio Filarete -- Recapitulation of characteristics of early Flemish school, The varnish of tempera pictures, Improvements by Van Eyck, mixture of varnish with colours, Methods of painting -- Lorenzo di Credi, Leonardo da Vinci, Pietro Perugino, Francesco Francia -- Raphael, Fra Bartolommeo, Mariotto Albertinelli, Ridolfo Ghirlandajo, Grancacci, Bugiardini, Andrea del Sarto -- Correggio -- Venetian methods -- Professional essays: Colour, light, shade, Correggio, & c -- Necessity for definitions -- Negative lights and shades -- Natural harmonies -- Natural contrasts -- Finish -- Space -- Effect -- Chiaroscuro preparations, their effect, duly managed, of producing depth and richness -- Chiaroscuro preparations, transparent brown -- Depth of light tints -- Warm shadows -- Treatment of green and blue -- Oiling out -- Vehicle for shadows -- Transparent painting -- Depth; transparent medium -- Cool lights on red -- Oil painting -- Macchia -- Venetian process -- Bellini thinned his vehicle with linseed oil -- Warm outlines and shadows -- Neutral tints in white and other draperies -- Toning, to mitigate partial or general crudeness -- Texture; Contract of surface in scumbling -- Scumbling and retouching -- Crispness and sharpness before toning -- Glazing system -- Life in inanimate things -- Palette knife -- The gem-like quality -- Facility of execution -- Remedies -- How to compose and paint a single head -- On subjects for painting -- Means and end of art
Dimensions
21 cm
Extent
2 volumes
Lccn
61000459
Media category
unmediated
Media MARC source
rdamedia
Media type code
  • n
System control number
  • (OCoLC)00517899
  • (OCoLC)ocm00517899

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