E. V. Bibliography: Historical Painting, Drawing and Treatises

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Primary Sources

Secondary Sources

  • BEAL, Mary. Study of Richard Symonds: His Italian Notebooks and their Relevance to Seventeenth-Century Painting Techniques. New York: Garland, 1984.
  • BERGER, Ernst. Quellen fur Maltechnik wahrend der Renaissance und deren Folgezeit. Munich, 1901, reprint 1973. Contains de Mayerne MS, 99–364.
  • 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," in Gerrit Dou, Master Painter in the Age of Rembrandt, Arthur K. Wheelock, Jr., ed., exh. cat., National Gallery of Art, Washington (New Haven:Yale University Press): 2000, 54–63.
  • BOMFORD David, Christopher Brown and Ashok Roy. Art in the Making:Rembrandt (London:National Gallery) 1988.[Glossary pp.144–147; Bibliographical Appendix on Training of Artists and Practice of Painting, 48–149; Select Bibliography, 150–153; Technical Literature, 154–155.
  • BRUSATI, Celeste. Artifice and illusion: The Art and Writing of Samuel van Hoogstraten. Chicago: University. 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.
  • GIFFORD, E. Melanie. "Style and Technique in Dutch Landscape Painting." Historical Painting Techniques, Materials, and Studio Practice, edited by Arie Wallert, Erma Hermens. (1995): 140-147.
  • GIFFORD, E. Melanie. "Esaias van de Velde’s Technical Innovations: Translating a Graphic Tradition into Paint." In Painting Techniques: History, Materials, and Studio Practice, IIC 1998 Dublin Congress, edited by Ashok Roy, and Perry Smith, 145–149. London: International Institute for Conservation of Historic and Artistic Works (IIC), 1998.

    GIFFORD, E. Melanie. "Painting Light: Recent Observations on Vermeer’s Painting Technique." In New Vermeer Studies, Studies in the History of Art, vol. 55, edited by Ivan Gaskell, and Michiel Jonker, 185–199. Washington: National Gallery of Art, 1998.
  • GIFFORD, E. Melanie. "Landscape Painting Style and Technique: Fidelity to the 16th Century Tradition in Early 17th Century Landscape Production." In Colloque XII pour l’étude du dessin sous-jacent et de la technologie dans la peinture, edited by R. van Schoute, and H. Verougstraete, 177–188. Louvain-la-Neuve: Peeters, 1999.
  • GIFFORD, E. Melanie. "Evocation and Representation: Rembrandt’s Landscape Painting Technique." In exh. cat. Rembrandt's Landscapes, edited by Christaan Vogelaar, and Gregor J. M. Weber, 120–143. Leiden: Stedelijk Museum het Lakenhal, 2006.
  • GIFFORD, E. Melanie. "Lievens' Technique: Wonders in Smeared Paint, Varnishes and Oils." In exh. cat. Jan Lievens: A Master Rediscovered, edited by Arthur K. Wheelock Jr., 40–53. Washington: National Gallery of Art, 2008.
  • GIFFORD, E. Melanie. "Fine Painting and Eloquent Imprecision: Gabriel Metsu’s Painting Technique." In Gabriel Metsu, edited by Adriaan E. Waiboer, 154–179. Dublin: Yale University Press, 2010.
  • GIFFORD, E. Melanie, Anikó Bezúr, Andrea Guidi di Bagno, and Lisha Deming Glinsman. "The Making of a Luxury Image: Van Aelst’s Painting Materials and Artistic Techniques." In exh. cat. Elegance and Refinement: The Still-life Paintings of Willem van Aelst, edited by Tanya Paul, 66–89. Houston and Washington: Houston Museum of Fine Arts and National Gallery of Art, 2012.
  • GIFFORD, E. Melanie. "Material as Metaphor: Non-conscious Thinking in Seventeenth Century Painting Practice." In Studying Old Master Paintings – Technology and Practice, edited by Marika Spring, 165–172. London: Archetype Publications, 2011.
  • GRAAF VAN DE, J. A. Het De Mayerne Manuscript als Bron Voor de Schildertechnick van de Barok, Mijdrecht, 1958.
  • 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, 1989–1990, 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.
  • JANSON, Jonathan. "How Vermeer Painted," in Hound in the Hunt: Optical Aids in Art. Museum of Old Art and New, Hobart TS, 2016. 90–151
  • KIRBY, Jo. "The Painter's Trade in the Seventeenth Century: Theory and Practice,. National Gallery Technical Bulletin, vol 20 (1999): 5–49.
  • KOESTER, Olaf, with contributions by Celeste Brusati, Jørgen Hein, Gunter Herzog, Ekkehard Mai, Mette Bjarnhof, and Lone Bogh. Illusions: Gijsbrechts, Royal Master of Deception, exh. cat. (Copenhagen:Statens Museum for Kunst) 1999. see especially Mette Bjamhof and Lone Bogh, "Restoration History and Study of Painting Technique, 287–305.
  • MERRIFIELD, M. Medieval and Renaissance Treatises on the Arts of Painting, 1849.
  • SCHENDEL, A.F.E. van, "Manufacture of vermilion in 17th-century Amsterdam: the Pekstok papers," Studies in Conservation, 17, (1972): 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, 199–225.
  • VELIZ, Zahira. Artists' Techniques in Golden Age Spain...Six treatises in translation, Cambridge: Cambridge University Press , 1986.
  • WALLERT, Arie, ed. Still Lifes: 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.
  • WETERING, Ernst van de.“The Canvas Support,” chapter 5 in Rembrandt: The Painter at Work (Oakland: University of California Press, 2000.
  • WETERING, Ernst van de.“Canvas Research with Emil Bosshard, Remarks on Method.” In Emil Bosshard, Paintings Conservator (1945–2006): Essays by Friends and Colleagues, edted by Maria de Peverelli, Marco Grassi, and Hans Christoph von Imhoff (Florence: Centro Di, 2009), 268..
  • 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, .64–78.