| # |
Title |
Working Group |
Year/Venue |
Paper/poster |
| 1 |
“... till the gold appears of a proper colour ...”: on gilding waxes as colouring agents in historical fire gilding practice
Marian Schüch *, Christoph Krekel, Gerhard Eggert
|
Art Technological Source Research |
2022 Paris |
Paper |
| 2 |
A new French process for mural painting in the 19th century: Auguste Hussenot’s sheet painting
Claire Bételu*
|
Art Technological Source Research |
2022 Paris |
Paper |
| 3 |
Art Technology Source Research beyond the sources’ reach: approaching the reconstruction of late medieval Irish manuscript inks
Cindy Connelly Ryan *, Fenella France, Meghan Wilson, Pádraig O’Machain
|
Art Technological Source Research |
2022 Paris |
Ext. Abstract |
| 4 |
Artist collaboration as a corporate strategy of the Schoenfeld/LUKAS company: evaluating sources in the LUKAS archive in Düsseldorf
Inken Maria Holubec *, Vanessa Schwaderlapp
|
Art Technological Source Research |
2022 Paris |
Paper |
| 5 |
From Wagner’s Körperfarben to the palette used by De Ploeg: early synthetic organic pigments in paintings by the Dutch avant-garde
Rika Pause*, Sanne V.J. Berbers, Christoph Krekel, Inez D. van der Werf, Klaas Jan van den Berg
|
Art Technological Source Research |
2022 Paris |
Paper |
| 6 |
From words to brushstrokes: a painter without a master, the Canadian artist François Baillairgé (1759–1830)
Pierre-Olivier Ouellet*
|
Art Technological Source Research |
2022 Paris |
Paper |
| 7 |
How do pigment recipes demonstrate their author’s technical and artistic know-how? Brazilwood colour recipes from the twelfth to fifteenth centuries
Anne Servais*
|
Art Technological Source Research |
2022 Paris |
Paper |
| 8 |
Innovation or replacement? Investigating Willi Baumeister’s painting materials and technique using art technological research
Ulrike Palm *, Wibke Neugebauer
|
Art Technological Source Research |
2022 Paris |
Paper |
| 9 |
Lost in translation – changing the meaning of Cyprium from azurite to ultramarine
Cecilia Rönnerstam*
|
Art Technological Source Research |
2022 Paris |
Ext. Abstract |
| 10 |
Materials and ephemerality in the 17th century: the making of artistic firework sculptures during the reign of Christian IV of Denmark
Anne Haack Christensen*
|
Art Technological Source Research |
2022 Paris |
Paper |
| 11 |
News from Tegernsee: The Tegernsee Tabula Magna and the Liber illuministarum revisited
Beate Fücker *, Josefine Kramer, Patrick Dietemann, Heike Stege
|
Art Technological Source Research |
2022 Paris |
Paper |
| 12 |
Photo-transfer on ceramics: investigating the evolution of craftmanship through manuals
Marie Auger*
|
Art Technological Source Research |
2022 Paris |
Ext. Abstract |
| 13 |
Prevention, breakage, care: anticipating damage in Medieval art technology
Jan M. van Daal*
|
Art Technological Source Research |
2022 Paris |
Paper |
| 14 |
Separating form and colour: Johann Friedrich Overbeck’s technique of underpainting in chiaroscuro
Eva Reinkowski-Häfner*
|
Art Technological Source Research |
2022 Paris |
Paper |
| 15 |
Some observations about a ‘secret’ method for painting in marble
Henrike Scholten*
|
Art Technological Source Research |
2022 Paris |
Paper |
| 16 |
The language of repeated gestures: the oldest Portuguese mouldmaker Manuel Branco (b. 1925)
Agnès Le Gac*
|
Art Technological Source Research |
2022 Paris |
Paper |
| 17 |
The Vermeer camera obscura hypothesis turned inside out: complexities of experimental research
Paul J.C. van Laar *, Erma Hermens, Gregor J.M. Weber
|
Art Technological Source Research |
2022 Paris |
Paper |
| 18 |
The W&N 19th century manufacture of madder reds: application to magic lantern slides
Vanessa Otero *, Tiago Veiga, Ângela Santos, Márcia Vilarigues
|
Art Technological Source Research |
2022 Paris |
Ext. Abstract |
| 19 |
Transfer of technology from Europe to China and Japan in the 17th and 18th centuries: painted enamels
Philippe Colomban*
|
Art Technological Source Research |
2022 Paris |
Ext. Abstract |
| 20 |
Unexpectedly experimental: Oskar Zwintscher’s working process
Monika Kammer *, Andreas Dehmer
|
Art Technological Source Research |
2022 Paris |
Ext. Abstract |