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Painting Materials: A Short Encyclopedia (Dover

Art Instruction)
R. J. Gettens, G. L. Stout

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Painting Materials: A Short Encyclopedia (Dover Art
Instruction)
R. J. Gettens, G. L. Stout

Painting Materials: A Short Encyclopedia (Dover Art Instruction) R. J. Gettens, G. L. Stout

The combined training and experience of the authors of this classic in the varied activities of painting
conservation, cultural research, chemistry, physics, and paint technology ideally suited them to the task they
attempted. Their book, written when they were both affiliated with the Department of Conservation at
Harvard's Fogg Art Museum, is not a handbook of instruction. It is, instead, an encyclopedic collection of
specialized data on every aspect of painting and painting research.
The book is divided into five sections: Mediums, Adhesives, and Film Substances (amber, beeswax, casein,
cellulose, nitrate, dragon's blood, egg tempera, paraffin, lacquer, gum Arabic, Strasbourg turpentine, water
glass, etc.); Pigments and Inert Materials (over 100 entries from alizarin to zinnober green); Solvents,
Diluents, and Detergents (acetone, ammonia, carbon tetrachloride, soap, water, etc.); Supports (academy
board, dozens of different woods, esparto grass, gesso, glass, leather, plaster, silk, vellum, etc.); and Tools
and Equipment.
Coverage within each section is exhaustive. Thirteen pages are devoted to items related to linseed oil; eleven
to the history and physical and chemical properties of pigments; two to artificial ultramarine blue; eleven to
wood; and so on with hundreds of entries. Much of the information — physical behavior, earliest known use,
chemical composition, history of synthesis, refractive index, etc. — is difficult to find elsewhere. The rest
was drawn from such a wide range of fields and from such a long span of time that the book was
immediately hailed as the best organized, most accessible work of its kind.
That reputation hasn't changed. The author's new preface lists some recent discoveries regarding pigments
and other materials and the pigment composition chart has been revised, but the text remains essentially
unchanged. It is still invaluable not only for museum curators and conservators for whom it was designed,
but for painters themselves and for teachers and students as well.

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