E. V. Bibliography: Traditional Painting Technique

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Primary Sources

  • ANGEL, Philips, Lof der Schilder-konst (Leiden) 1642. [facsimile ed., Utrecht, 1969).
  • BERGER, Ernst, Quellen fur Maltechnik wahrend der Renaissance und deren Folgezeit, Munich, 1901, reprint 1973. Contains de Mayerne MS, pp.99-364.
  • CENNINO d'Andrea, Cennini, Il Libro dell Arte, C. 1400, tr. Daniel V. Thompson, Jr., The Craftsman’s Handbook; 'II Libro dell 'Arte', (New York:Dover) 1933, 1960.
  • HOOGSTRATEN, Samuel van (1627-1678), Inleyding tot de hooge Schoole der Schilderkonst... (Introduction to the higher education of the art of painting) Rotterdam, 1678.
  • LAIRESSE, Gérard de, Het Groot Schilderboek, 2 vols., Amsterdam 1707; English translation 1738.
  • MAYERNE T.T. de, Pictoria, Sculptoria et quae subalternum Artium, 1620.
  • GRAAF VAN DE, J. A. Het De Mayerne Manuscript als Bron Voor de Schildertechnick van de Barok, Mijdrecht, 1958.
  • MERRIFIELD, M.P., Medieval and Renaissance Treatises on the Arts of Painting, Original Texts with English Translations, 2 vols. Bound as one (Mineola, NY:Dover) 1849, 1967, 1999.
  • VAN MANDER, Karel, Het Schilder-Boeck, Haarlem, 1604; 2nd ed. Amsterdam 1618. [reprint with introduction and translation, 6 vols., Hessel Miedema, ed., Doornspijk, 1994-99].
  • VASARI, Oiorgio, Vasari on Technique, tr. L. Maclehose, ed. Prof. G. Baldwin-Brown (New York:Dover) 1907, 1960.
  • VELIZ, Zahira, Artists' Techniques in Golden Age Spain...Six treatises in translation, Cambridge, 1986.

Secondary Sources

  • BOK, Martin Jan, "The Artist's Working Method," in Jan Steen, Painter and Storyteller [exh. Cat., National Gallery of Art and Rijksmuseum, Amsterdam] (Washington and Amsterdam, 1996) 86-87.
  • BOERSMA, Annetje, "Dou's Painting Technique: An Examination of Two Paintings," Gerrit Dou, Master Painter in the Age of Rembrandt, Arthur K. Wheelock, Jr., ed., exhibition catalogue, National Gallery of Art, Washington (New Haven:Yale University Press) 2000, pp.54-63.
  • BOMFORD David, Christopher Brown and Ashok Roy, Art in the Making:Rembrandt (London:National Gallery) 1 988.[Glossary pp.144-147; Bibliographical Appendix on Training of Artists and Practice of Painting, pp.148-149; Select Bibliography, 150-153; Technical Literature, pp.154-155.
  • BRUSATI, Celeste, Artifice and illusion: The Art and Writing of Samuel van Hoogstraten (Chicago: Univ. of Chicago Press) 1995.
  • BUCKLOW, Spike, The Alchemy of Paint: Art, Science and Secrets from the Middle Ages, London, 2009.
  • EASTLAKE, C. L., Methods and Materials of Painting of the Great Schools and Masters, 2 vols., London 1847, reprint, New York, 1960.
  • FELLER, Robert L. (vol.1), Ashok Roy, (vol.2), and Elizabeth West Fitzhugh (vol.3), eds., Artists' Pigments: A Handbook of their History and Characteristics, 3 vols. (vol.1, Cambridge and Washington:Cambridge University Press and National Gallery of Art) 1986; (vol.2, Washington and New York:National Gallery of Art and Oxford University Press) 1993; (vol.3, Washington and New York:National Gallery of Art and Oxford University Press) 1997.
  • GETTENS, Rutherford J. and George L. Stout, Painting Materials: A Short Encyclopaedia (New York: Dover) 1942, 1966.
  • GROEN, Karen and Ella Hendriks, "Frans Hals: Technical Examination," in S. Slive, ed. Frans Hals, [exh. cat., National Gallery of Art, Royal Academy, Frans Halsmuseum,] (Washington, London and Haarlem, 1989-90)109-127.
  • HARLEY, Rosamund, Artists' Pigments c. 1600-1835: a study in English documentary sources, 2nd ed., (London:Bufferworth Scientific) 1982.
  • JANSON, Jonathan, Looking Over Vermeer’s Shoulder  Seventeenth-Century Dutch Fine Painting Techniques and Studio Practices with Particular Focus on the Work of Johannes Vermeer (second edition), USA, 2016
  • KIRBY, Jo, "The Painter's Trade in the Seventeenth Century: Theory and Practice," pp.5-49, National Gallery Technical Bulletin, vol 20, 1999, National Gallery Publications, London, Yale University Press.
  • KOESTER, Olaf, Illusions: Gijsbrechts, Royal Master of Deception, with contributions by Celeste Brusati, Jørgen Hein, Gunter Herzog, Ekkehard Mai, Mette Bjarnhof, and Lone Bogh, exhibition catalogue (Copenhagen:Statens Museum for Kunst) 1999. -see especially Mette Bjamhof and Lone Bogh, "Restoration History and Study of Painting Technique, pp.287-305.
  • SCHENDEL, A.F.E. van, "Manufacture of vermilion in 17th century Amsterdam: the Pekstok papers," Studies in Conservation, 17, 1972, pp.70-82. [also contains recipes for Spanish green (verdigris) and schuytgeel (a yellow lake pigment.) [Peckstock Papers, Municipal Archives, Amsterdam, No. N-09-23].
  • TALLEY, Mansfield Kirby, Portrait Painting in England: studies in the technical literature before 1700, published privately by the Paul Mellon Centre, London 1981. [discussion of de Mayerne MS in chapter 6].
  • VAN HOUT, Nico, "Meaning and Development of the Ground-layer in Seventeenth Century Painting," Looking Through Paintings, the Study of Painting Techniques and Materials in Support of Art Historical Research, Erma Hermens, ed., (Leiden:deProm and Archetype) 1998, pp.199-225.
  • WALLERT, Arie, ed., Still Lifts: Techniques and Style: An Examination of paintings from the Rjjksmuseum, Rijksmuseum, Amsterdam (Zwolle:Waanders Publishers) 1999.
  • WETERING, Ernst van de, Rembrandt The Painter at Work (Amsterdam:Amsterdam University Press) 1997.
  • WHITE, Raymond and Jo Kirby, "Rembrandt and his Circle: Seventeenth-Century Dutch Paint Media Re-Examined", National Gallery Technical Bulletin, vol.15 (London:National Gallery Publications) 1994, pp.64-78.
Looking Over Vermeer's Shoulder
The complete book on the technique and studio practices of Johannes Vermeer
2nd edition
eBook / PDF
+300 color illus.
Jan., 2016


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