Cited page

Citations are available only to our active members. Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

X X

Cited page

Display options
Reset

Venetian Grinds: The Secret Behind Italian Renaissance Painters' Brilliant Palettes

By: Goho, Alexandra | Science News, March 12, 2005 | Article details

Look up
Saved work (0)

matching results for page

Why can't I print more than one page at a time?
While we understand printed pages are helpful to our users, this limitation is necessary to help protect our publishers' copyrighted material and prevent its unlawful distribution. We are sorry for any inconvenience.

Venetian Grinds: The Secret Behind Italian Renaissance Painters' Brilliant Palettes


Goho, Alexandra, Science News


While sifting through 15th- and-16th century documents at the state archives in Venice, Louisa Matthew came across an ancient inventory from a Venetian seller of artist's pigments. The dusty sheet of paper, dated 1534, was buried in a volume of inventories of deceased persons' estates.

As Matthew, an art historian at Union College in Schenectady, N.Y., scanned the more-than-l00 items on the list, she realized that it was exactly what she had dreamed of finding. "I remember thinking, 'Did someone plant this here?'" she says. 'And why hadn't anyone noticed this before?" This inventory of artists' materials could hold the answer to a question that had long vexed conservation scientists: How did Venetian Renaissance painters create the strong, clear, and bright colors that make objects and figures in their paintings appear to glow?

The diversity of items on the list amazed Matthew. It included not only painters' pigments such as azurite, vermilion, and orpiment, but also raw materials used in a variety of crafts. "So, it wasn't just the painters who were buying from the color seller," she says. Glassmakers and dye-makers were also frequenting the shop. If the color shop was a nexus for all these different craftspersons, she reasoned, "maybe they were sharing ideas"--and materials too.

That last speculation spurred Matthew's colleague Barbara Berrie, a conservation scientist at the National Gallery of Art in Washington, D.C., to reexamine the Venetian paintings that she had been studying for the past few years. Previous analyses of microscopic paint samples taken from a handful of works had revealed many aspects of the artists' …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Select text to:

Select text to:

  • Highlight
  • Cite a passage
  • Look up a word
Learn more Close
Loading One moment ...
Highlight
Select color
Change color
Delete highlight
Cite this passage
Cite this highlight
View citation

Are you sure you want to delete this highlight?