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The Invention of Pastel Painting, Hardcover by Burns, Thea Excellent Condition
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- Compralo SubitoThe Invention of Pastel Painting, Hardcover by Burns, Thea Excellent Condition
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Numero oggetto eBay:205254126785
Specifiche dell'oggetto
- Condizione
- ISBN
- 9781904982128
Informazioni su questo prodotto
Product Identifiers
Publisher
Archetype Publications
ISBN-10
1904982123
ISBN-13
9781904982128
eBay Product ID (ePID)
62279233
Product Key Features
Number of Pages
244 Pages
Language
English
Publication Name
Invention of Pastel Painting
Publication Year
2025
Subject
Subjects & Themes / Portraits, Techniques / Painting, General, Subjects & Themes / Human Figure
Type
Textbook
Subject Area
Art
Format
Hardcover
Dimensions
Item Height
0.8 in
Item Weight
16.8 Oz
Item Length
10.1 in
Item Width
7.4 in
Additional Product Features
Intended Audience
College Audience
Dewey Edition
22
Reviews
"...a handsome and welcome addition to the excellent library of conservation and art historical literature available from Archetype Publications...The Invention of Pastel Painting is an invaluable reference book for conservators, art historians, connoisseurs, educators, custodians and collectors on all aspects of the medium." Journal of the Canadian Association for Conservation 33 (2008) 49-50 "Thea Burns has produced an exceptional book on an esoteric and seductive subject - the invention and early history of the art of pastel painting. For conservators working on pastels from any period, this volume is an excellent one to read and keep as reference, as it covers the topic with an amount of detail unseen in previous works on the subject...For all interested readers, it is an engaging and informative book which should form part of any serious collection of books on artists' materials and techniques." Journal of the Institute of Conservation 32(1) (March 2009) 129-131 "The Invention of Pastel Painting is the first publication to fully distinguish, characterize, and establish a historical usage of pastels through the study of primary source material and technical examination of selected works from 1500 to 1750 executed in dry friable color...[It] provides a unique contribution to the subject of pastel, one that clearly defines the historic medium and provides a foundation upon which future historical and conservation-related research could be built." Journal of the American Institute for Conservation 49 (2010) 115-117
TitleLeading
The
Illustrated
Yes
Dewey Decimal
741.235
Table Of Content
Acknowledgements Introduction Chalk and pastel Distinguishing between chalk and pastel in drawings, words and texts Historical meanings of 'pastel' Evidence for naturally occuring coloured chalk drawing sticks Painting with pastel Painting in pastel: a new artistic practice Evidence from contemporary texts Sets of pastels The pastellist's tools The paper support Pastel: a socially appropriate substitute for oil painting Robert Nanteuil and the prestige of painting in pastel Evidence for materials and techniques Paper supports Painting pastel portraits Relationship of function to material A small portrait in graphite on parchment Thesis portraits 'New heights': Joseph Vivien's large-scale pastel portrait paintings The reception of Vivien's pastel paintings Vivien's activity as a pastel painter Material and technical evidence Vivien's choice of pastel Summary Making up the face: technique and meaning in Carriera's pastel portraits Carriera's pastel portraits Carriera's achievement in pastel: pleasurable deception, fragile illusion Fashion, appearance and class Ideals of beauty Painting the face: pastel and make-up Venetian prototypes Carriera's materials and working practice Carriera's papers Paper colour Carriera's sources of blue paper Additonal characteristics of Carriera's papers Carriera's working procedures Secondary support Primary support preparation Preparatory drawings, underdrawings and underpainting The pastel painting Brushwork Sources of Carriera's pastel sticks Summary Presenting pastel portraits Introduction Material issues affecting presentation Glazing Frames Evidence for reconstructing the presentation of pastels Abundance or restraint: public versus private display Framing in themed groups Fixatives and 'the precious powder ... which falls off as easily as scales from a butterfly's wings' Pastel in the nineteenth century Appendix 1 Index to art-making and related topics in Carriera's correspondence Appendix 2 Currency, wages and measurement Appendix 3 Conditions of examination Appendix 4 The conservation of pastels Appendix 5 Earlier related publications by the author Notes References Index
Synopsis
Chalks and pastels are particularly appropriate materials for portraits because they appear effortlessly to convey the warm tones and soft, matte velvety surface of skin. Portraits and head studies therefore figure prominently in histories of pastel. The Invention of Pastel Painting describes the relatively sudden emergence in the later seventeenth century of sets of friable pastel sticks and a new artistic practice of painting in pastel. The author reconsiders the use of natural and fabricated drawing sticks as tools, firmly locating their use in the context of historical function. 'Artistic techniques have a social history; they are signs endowed with cultural meaning by society.'The visual, documentary and etymological evidence does not support the concept of a narrative history of pastel gradually progressing from a 'simple' original state in the drawings of Leonardo da Vinci, Jean and Francois Clouet and the Dumonstiers to an increasingly richly coloured and technically complex visual record in the paintings of Robert Nanteuil, Joseph Vivien and Rosalba Carriera, and then continuing to evolve through the nineteenth century.In considering the history of chalk and pastel, the author argues that the change is aesthetic, not formal, and is grounded in social function and technical response. She has drawn not only on artists' letters and accounts, documents, critical and theoretical writings, and, broadly, the secondary literature, but also on close visual examination and scientific analysis of selected chalk drawings and paintings in pastel, particularly those created between 1500 and 1750., Chalks and pastels are particularly appropriate materials for portraits because they appear effortlessly to convey the warm tones and soft, matte velvety surface of skin. Portraits and head studies therefore figure prominently in histories of pastel. The Invention of Pastel Painting describes the relatively sudden emergence in the later seventeenth century of sets of friable pastel sticks and a new artistic practice of painting in pastel. The author reconsiders the use of natural and fabricated drawing sticks as tools, firmly locating their use in the context of historical function. 'Artistic techniques have a social history; they are signs endowed with cultural meaning by society.' The visual, documentary and etymological evidence does not support the concept of a narrative history of pastel gradually progressing from a 'simple' original state in the drawings of Leonardo da Vinci, Jean and Francois Clouet and the Dumonstiers to an increasingly richly coloured and technically complex visual record in the paintings of Robert Nanteuil, Joseph Vivien and Rosalba Carriera, and then continuing to evolve through the nineteenth century. In considering the history of chalk and pastel, the author argues that the change is aesthetic, not formal, and is grounded in social function and technical response. She has drawn not only on artists' letters and accounts, documents, critical and theoretical writings, and, broadly, the secondary literature, but also on close visual examination and scientific analysis of selected chalk drawings and paintings in pastel, particularly those created between 1500 and 1750.
LC Classification Number
NC880
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- g***o (406)- Feedback lasciato dall'acquirente.Ultimi 6 mesiAcquisto verificatoNo issues. Shipped quickly. Arrived as described. Bought as a gift and my sister loves it. Was packaged well to prevent damage in transit. Great value. Would buy from this seller again.
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