Bulletin of the Detroit Institute of Arts最新文献_第3页

Cultural Mediators 文化调解员

Bulletin of the Detroit Institute of Arts Pub Date : 2020-01-01 DOI: 10.1086/714898

Jahnabi Barooah Chanchani

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Bruegel’s Color Palette in The Wedding Dance 勃鲁盖尔在婚礼舞蹈中的调色板

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707427

C. Bisulca, Blair Bailey

{"title":"Bruegel’s Color Palette in The Wedding Dance","authors":"C. Bisulca, Blair Bailey","doi":"10.1086/707427","DOIUrl":"https://doi.org/10.1086/707427","url":null,"abstract":"Identifying the pigments and dyes that artists used in their paintings provides insight into both the historical trade in raw materials for natural pigments (see Part 4) and the technology of the time period because it reveals which synthetic pigments were available. Identifying these pigments also helps us understand how the painting may have originally looked before some of its colorants faded or became discolored—and thus reveals the artist’s original intentions. At the DIA we wanted to gain these insights by examining the palette of e Wedding Dance—the range of specific pigments Bruegel used to create the painting—and the way he prepared, stored, and worked with those pigments. To assess the pigment components of the paint layers in e Wedding Dance, we performed visible near-infrared fiber optics reflectance spectroscopy (VIS-NIR FORS), X-ray fluorescence (XRF) spectroscopy, and liquid chromatography-mass spectroscopy (LC-MS).153 Colorants in paintings are made from pigments (inorganic) or dyes (organic). Natural pigments are derived from minerals, whereas natural dyes are extracted from plants and animals. ere are also synthetic pigments and dyes that are manufactured. We identified the following colorants in the Wedding Dance: cochineal red lake, vermilion, lead white, carbon black, azurite, smalt, a copper-based green (possibly malachite or verdigris), lead tin yellow, and iron oxide earth pigments like yellow ochre and earth browns (table 5.1).154 Many of the pigments and their mixtures have also been found in Bruegel’s other works.155 Most notably, some green areas (such as the grass in the foreground) are made with combinations of lead tin yellow and azurite.156 Bruegel’s use of cochineal has not previously been reported. Cochineal is a dye derived from insects, and it is indicated in several pink areas of the painting. is identification required the removal of a small sample analysis with LC-MS.157 Results confirmed the presence of carminic acid, the primary red colorant in several cochineal insect dyes that have been used historically: American cochineal (Dactylopius coccus), Polish cochineal (Porphyrophora polonica), and Armenian cochineal (Porphyrophora hamelii). e analysis was not able to distinguish among these three dierent species of cochineal insects; however, archival research suggests that it is likely American cochineal.158 is bright red dye is extracted from a species of insects that host on paddle cacti, and Mesoamerican and South American","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707427","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42914849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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The Preparatory Layers and Underdrawing of The Wedding Dance 婚礼舞蹈的准备层和底图

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707425

B. Goodman

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Acknowledgments 致谢

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707434

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A History of Frames for The Wedding Dance 婚礼舞蹈框架的历史

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707431

B. Goodman

{"title":"A History of Frames for The Wedding Dance","authors":"B. Goodman","doi":"10.1086/707431","DOIUrl":"https://doi.org/10.1086/707431","url":null,"abstract":"e Wedding Dance has had at least three frames during its lifetime. In this essay, we refer to them as the original frame, the gilded frame, and the current frame. Little is known about Bruegel’s framing practices, but the condition of the perimeter of the painting suggests that the original frame was separate rather than engaged.269 e earliest photograph of e Wedding Dance in a frame (fig. 9.1) is from 1930, the year the DIA acquired the painting. In this photograph, the painting is in a gilded frame, hanging in the museum. e right edge of the painting’s surface is captured in specular light,270 revealing abrasion along the perimeter of the painting (fig. 9.2). is damage is characteristic of rebate rub (or rabbet rub), a term that refers to abrasion of the paint caused by the lip of the frame that holds the painting in place. Since the rebate rub is visible and does not align with the gilded frame’s edge, it was likely caused by an earlier frame with a slightly smaller opening, or sight size. However, we do not know whether this earlier frame was original or a later replacement. In short, it is unknown how many other frames were paired with e Wedding Dance between the original frame and the gilded frame. As seen in the photograph, the gilded frame has a convex profile, or torus, Above FIG 9.1 e Wedding Dance in the gilded frame in 1930, the year the DIA acquired the painting","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707431","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49553162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Plates 盘子

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707416

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Changes to The Wedding Dance as Seen through Two Copies 从两本看婚礼舞蹈的变化

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707432

Ellen Hanspach-Bernal

{"title":"Changes to The Wedding Dance as Seen through Two Copies","authors":"Ellen Hanspach-Bernal","doi":"10.1086/707432","DOIUrl":"https://doi.org/10.1086/707432","url":null,"abstract":"When DIA conservators examined e Wedding Dance, the painting’s close relationship to two early copies became an important point of focus for our work. Not only could we use the original painting to contextualize the copies, but we could use the copies to glean important information about the original painting. Analyzing the copies was especially valuable in helping us understand the paint layers and format of e Wedding Dance. One of the copies, Dance of the Bride (plate 6), dates from shortly after 1566 and is housed at the Royal Museum of Fine Arts Antwerp. e second copy, Wedding Dance in the Open (plate 7), dates from the late sixteenth century and resides at the Gemäldegalerie in Berlin. e comparative study of the Antwerp copy was especially productive because conservator Marie Postec was researching and treating that painting over the summer of 2018 in the Conservation Department of the Antwerp museum.275 e following text will lay out how the Antwerp painting was established as a primary reference source for the Detroit painting and how it shed light on important questions regarding the paint layers of the original. e Berlin copy was a valuable resource for recognizing changes to the format of all three paintings.","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707432","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47134047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The Changing Appearance of The Wedding Dance 婚礼舞蹈的变迁

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707433

Ellen Hanspach-Bernal, Blair Bailey

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Introduction 介绍

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707419

Ellen Hanspach-Bernal

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Appendix: Color Simulations 附录：颜色模拟

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707435

B. Goodman

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