National Gallery London
Italian Painting Before 1400: Art in the Making
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Title: Italian Painting Before 1400: Art in the Making
Author: David Bomford
ISBN: 9780300061444
Publisher: National Gallery London
Published: 1989
Binding: Paperback
Language: English
Edition: Reprint
Number of Pages: 236
Condition Note: Moderate edge wear. Binding good. May have marking in text. We sometimes source from libraries. We ship in recyclable American-made mailers. 100% money-back guarantee on all orders.
Publisher Description: In Italy between 1270 and 1370 the whole tradition of European painting underwent a radical and enduring change of direction. This attractive and unusual study of Italian painted panels of the Early Renaissance examines the materials with which this transformation was effected and demonstrates how modern technology has increased our understanding of medieval panel painting. The authors survey the primarily religious function of these works and the professional context in which the artists worked. They provide explanations of the construction of panels and the preparation of wood for painting and of the preparation and application of gold leaf. The substantial sections on pigments and color represent original research done at the Gallery that has enabled the writers to provide the first comprehensive survey of how paints were prepared, mixed, and applied.
Author: David Bomford
ISBN: 9780300061444
Publisher: National Gallery London
Published: 1989
Binding: Paperback
Language: English
Edition: Reprint
Number of Pages: 236
Condition Note: Moderate edge wear. Binding good. May have marking in text. We sometimes source from libraries. We ship in recyclable American-made mailers. 100% money-back guarantee on all orders.
Publisher Description: In Italy between 1270 and 1370 the whole tradition of European painting underwent a radical and enduring change of direction. This attractive and unusual study of Italian painted panels of the Early Renaissance examines the materials with which this transformation was effected and demonstrates how modern technology has increased our understanding of medieval panel painting. The authors survey the primarily religious function of these works and the professional context in which the artists worked. They provide explanations of the construction of panels and the preparation of wood for painting and of the preparation and application of gold leaf. The substantial sections on pigments and color represent original research done at the Gallery that has enabled the writers to provide the first comprehensive survey of how paints were prepared, mixed, and applied.
