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Methods and materials of painting of the great schools and masters : two volumes bound as one / Sir Charles Lock Eastlake.

By: Publication details: Mineola, N.Y. : Dover Publications, c2001.Description: 2 volumes in 1 (xii, 561 pages, xiv, 434 pages) ; 22 cmISBN:
  • 9780486417264
  • 0486417263
Uniform titles:
  • Materials for a history of oil painting.
Subject(s):
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.

Originally published: Materials for a history of oil painting. London : Longman, Brown, Green, and Longmans, 1847; previously published in 2 v. by Dover in 1960.

Includes bibliographical references and index.

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.