Titian (active 1506; died 1576) is acclaimed as the greatest of the Venetian masters. His technique has long fascinated painters and collectors, and his use of oil paints and the richly colored pigments available to him in Venice influenced the subsequent history of European painting. The National Gallery, London, is home to an outstanding group of Titian’s paintings, and this special edition of its annual Technical Bulletin is dedicated to the study of the artist during the first part of his career. An introductory essay focuses on Titian’s painting technique, from its origins in the workshops of Venice and the Veneto, through close examination of nine works in the gallery’s collection, including the stunning Bacchus and Ariadne (1520–23). The authors also discuss significant early works from other collections, such as The Triumph of Love (about 1544–6). New research and discoveries, published here for the first time, will be essential reading for Titian scholars and enthusiasts alike.

National Gallery Technical Bulletin: Volume 34, Titian’s Painting Technique before 1540 (National Gallery Technical Bulletins)

Arts & Photography

Dunkerton, Jill

Spring, Marika

History & Criticism

National Gallery London

Volume 36 completes the study begun with Volume 34 (in 2013) of the painting materials and technique of the most influential artist of the 16th century, by the National Gallery, a global center for research into Venetian painting. An introduction addresses the consistencies and variations in Titian’s practice, including the use of new materials such as the blue pigment smalt. Entries cover eight key works dating from 1540, and a final essay discusses the conservation history of Diana and Actaeon and Diana and Callisto, the two great mythological paintings recently acquired by the National Gallery and the National Galleries of Scotland.

National Gallery Technical Bulletin: Volume 36, Titian's Painting Technique from 1540 (National Gallery Technical Bulletins)

This latest volume of the National Gallery’s Technical Bulletin series features a range of studies, reflecting its commitment to the scientific research and conservation of paintings in its care. Articles include the recent conservation of Rosso Fiorentino’s A Knight of Saint John; the historic technical literature in the Eastlake Library; the use of macro XRF scanning to inform the conservation strategy for Ferdinand Bol’s An Astronomer; and newly discovered structural modifications and pictorial changes in Jacob Jordaens’s Portrait of Govaert van Surpele and His Wife. The revelatory insights into the collaboration between Sebastiano del Piombo and Michelangelo garnered through the use of infrared reflectography amplify the discussion previously published in Michelangelo &amp; Sebastiano (Yale).

National Gallery Technical Bulletin: Volume 38 (National Gallery Technical Bulletins)

WIVEL, Matthias

Keith, Larry

Wieseman, Marjorie E.

Franklin, Jonathan

Howard, Helen

Billinge, Rachel

Ackroyd, Paul

Aderkas, Nelly von

Ede, Minna Moore

Peggie, David

Rukavina, Flaminia

Melchiorre, Marta

Collections, Catalogs & Exhibitions

The papers in this volume constitute a substantial body of work that provides a wide-ranging overview of current research on the technology and practice of Old Master paintings, covering some 700 years of European painting, from the thirteenth century to the early twentieth century, including works by Guido da Siena, Bellini, Michelangelo, Leonardo da Vinci, Fernando Gallego, Holbein, Caravaggio, El Greco, Rubens, Murillo, Gainsborough, Reynolds, Whistler, van Gogh and Munch. Six of the contributions focus on technological or historical aspects of specific artists' materials. These papers were presented at a conference held at the National Gallery to celebrate the 30th anniversary of the National Gallery Technical Bulletin. The Bulletin has a long history of publishing interdisciplinary research on the technical examination of paintings to inform both art-historical study and issues relating to the material history of a work. This type of research was the central focus of the conference and provided the overall thematic link between the contributions presented. Contains essays on the work of a wide range of artists, including Michelangelo, Leonardo da Vinci, Hans Holbein, Albrecht Altdofer, Caravaggio, Rubens, Thomas Gainsborough, Vincent Van Gogh, Edvard Munch, Christen Købke, Bartolomé Esteban Murillom and El Greco.

Studying Old Master Paintings: Technology and Practive

Archetype Books

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