Medieval painters built up a tremendous range of technical resources for obtaining brilliance and permanence. In this volume, an internationally known authority on medieval paint technology describes these often jealously guarded recipes; lists of materials, and processes.
Based upon years of study of medieval manuscripts and enlarged by laboratory analysis of medieval paintings, this book discusses carriers and grounds, binding media, pigments, colouring materials, and metals used in painting.
It describes the surfaces that the medieval artist painted upon, detailing their preparation. It analyzes binding media, discussing relative merits of glair vs. gums, oil glazes, and other matters. It tells how the masters obtained their colours, how they processed them, and how they applied them. It tells how metals were prepared for use in painting, how gold powders and leaf were laid on, and dozens of other techniques.
Simply written, easy to read, this book will be invaluable to art historians, students of medieval painting and civilization, and historians of culture. Although it contains few fully developed recipes, it will interest any practicing artist with its discussion of methods of brightening colours and assuring permanence.
1st Dover edition, Pb, 129pp, 13.7 x 20 cm