conservation publications michelangelo underdrawings

books:

Beyond the Naked Eye: Details from the National Gallery (National Gallery London Publications)
Jill Dunkerton, Rachel Billinge

Yale University Press, 2006

What admirer of a great Renaissance painting has not wished for the chance to approach it closely and examine each tiny detail? This unique book permits just such a close-up view of some of the most beautiful masterpieces in the National Gallery, London. Using photography taken through a microscope, this book shows details from paintings that would not normally be seen: a gem sparkling on a ringed finger, a minute insect, intricate brushwork, ...

The Young Michelangelo: The Artist in Rome, 1496-1501 and Michelangelo as a Painter on Panel; Making and ...

1 review
Michael Hirst, Jill Dunkerton

National Gallery London, 1994

An excellent addition for the Michelangelophile.
This book covers the evolution of the young Michelangelo's abilities as an artist, as well as the available details of how he spent his time during the period. The authors give persuasive argument for Michelangelo's authorship of a controversial early panel painting, and there is useful discussion of the relationships between Michelangelo's ideas in paintings and sculpture, as well as of their ...

Art in the Making: Underdrawings in Renaissance Paintings

National Gallery London, 2002

Preliminary drawings beneath the surface layers of a painting can often be made visible by a technique called infra-red reflectography. The fascinating revelations of such underdrawings are always a source of important material for art history, leading to deductions about attribution, style, changes in composition, and workshop practices. This accessible book presents the results of pioneering research on the underdrawings of fifteenth- and ...

Durer to Veronese: Sixteenth-Century Painting in the National Gallery

2 reviews
Jill Dunkerton, Susan Foister, ...

Yale University Press, 2002

A necessary volume
As a student of Art History I utilise very many volumes and this one rates highly in my opinon. It is not only easy to use, but it also has the great advantage of explaining art historical details concisely and clearly so that anyone, however unused to art they are, can enjoy and understand what is being said. This book surveys paintings, highlighting those in the National Gallery, London ...

Italian Painting Before 1400: Art in the Making (National Gallery London Publications)
David Bomford, Jill Dunkerton, ...

National Gallery London, 1989

Giotto to Durer: Early Renaissance Painting in the National Gallery (National Gallery London Publications)

3 reviews
Jill Dunkerton, Susan Foister, ...

Yale University Press, 1994

superb introduction to renaissance painting
We are used to looking at "old Master" painting as if it were just a matter of style, but the truth is that Renaissance art was in important respects the product of a revolution in the use of binding media (water and egg yolk for tempera; oils) for pigments, and in the prepared surfaces (wood panels, paper, canvas) to which these pigments were applied. This wonderfully illustrated book distills ...

Titian (National Gallery London Publications)

2 reviews
Charles Hope, Jennifer Fletcher, ...

National Gallery London, 2004

superb intro to titian
for its size, this is probably the best overview of titian available in english. the color reproductions are beautifully done, the sampling of titian's works is comprehensive yet compact. the historical essays on the epochs of titian's output and the commentaries to each painting are well written and highly informative. a few major works, such as the venus d'urbino, are reproduced in smaller ...

A Closer Look: Conservation of Paintings (A Closer Look)
David Bomford

National Gallery London, 2009

A Closer Look is the new series title for the updated and refreshed National Gallery Pocket Guide range. The series has been enhanced with a stronger format, attractive design, new photography, and additional information. The philosophy of modern conservation is different from that of previous eras: the emphasis now is on long-term stabilization by methods that alter the structure of a painting as little as possible. Nevertheless, if ...