Book
xvi, 454 pages, 16 pages of plates : illustrations (chiefly color) ; 28 cm
  • Image Credits List Of Colour Plates Preface Acknowledgements Standard Abbreviations A Note On Nomenclature Alphabetical Entries Postscript By David Livingstone Appendix Of Tables 1.Standard Abbreviations 2.Simplified Ultimate Analyses of Vegetable Ashes And Bone Ash 3.Simplified Ultimate Analyses of Some Common Materials 4.Harrison Pyrometric Cones 5.Harrison Minibars 6.Orton Pyrometric Cones, Large and Self-Supporting 7.Orton Pyrometric Cones, Small and Bars 8.Seger Pyrometric Cones 9.Bullers Bars 10-16. Tables Concerning Densities and Contents of Suspensions 17.Elements 18.Capacity Equivalents 19.Slop Weight Equivalents 20.Weight Equivalents 21.Length Equivalents 22.Capacity Factors 23.Density Factors 24.Dry Weight Factors 25.Oxide Effect on Surface Tension 26.Thermal Expansion And Contraction 27.Acceptable Limits for Unity Formulae of Glazes 28.Mohs' Scale of Hardness 29.Effective Ranges of Glaze Oxides 30.Mineral Constants 31.Incandescence 32.Conversion of Temperatures 33.Temperature Equivalents 34.Valency 35.Atomic to Visible Particle Sizes Compared with Wavelengths of Electromagnetic Radiation 36.Periodic Table of Elements 37a. Potter's Periodic Table 37b. Potter's Periodic Table - Alkaline/Acidic Oxides 38.Alternative Oxide Names 39.Analyses of Some Insulating Refractories 40.Energy Equivalents 41.Pressure Equivalents 42.Mesh Sizes 43.Conversion Scales Bibliography Appendix of Suppliers Appendix of Addresses for Standards and Safety Green Addresses Appendix of Internet Resources for Potters Recipe Appendix.
  • (source: Nielsen Book Data)9781408184196 20160619
Now available in its sixth edition, The Potter's Dictionary of Materials and Techniques presents a comprehensive survey of all aspects of making ceramics for craft potters and ceramic artists. With its sound, practical explanations of ceramic processes, this indispensable reference book has gained a reputation as "the potter's bible." Professional potters, beginners, students, and collectors will find authoritative information clearly and logically presented. Frank and Janet Hamer explain the sources and character of materials, the behavior of clays and glaze minerals during forming and firing processes, forming methods, and glaze construction. In addition to brief outlines and detailed articles with cross references to illustrations, color photographs illustrate glaze effects and surfaces featured in the work of inventive, contemporary potters. The varied techniques of Raku, maiolica, crystalline glazes, salt and soda, stoneware, and porcelain are also presented. This new edition features over 500 full-color photographs and illustrations. With more than 300 diagrams to clarify everything in the ceramic world, in its sixth edition The Potter's Dictionary of Materials and Techniques will continue to serve as the authority on all things ceramic.
(source: Nielsen Book Data)9780812247923 20160619
The Potter's Dictionary of Materials and Techniques provides a comprehensive guide to the tools, materials and techniques of ceramic art. Structured in an accessible A-Z format, and packed with full-colour illustrations and sound, practical explanations, this reference work is widely known as 'the potter's bible'. The 6th edition of this classic text has been thoroughly updated, with new entries on topics ranging from aerogel to smoke crackle, and from teabowls to 3D printing, as well as many revised and updated entries. The Dictionary also includes useful technical and resource information. For the first time, the book is presented in full colour, with images showing ceramics material, processes and products. A must-have resource for every potter's studio, workshop or bookshelf, The Potter's Dictionary is the essential companion for anyone working in clay.
(source: Nielsen Book Data)9781408184196 20160619
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
239 pages : color illustrations ; 25 cm
  • Introduction 7 An uncertain color (From the beginning to the year 1000) 11 Did the Greeks see green? 14 Green among the Romans 20 The emerald and the leek 26 Hippodrome green 31 The silences of the Bible and the church fathers 36 A middle color 40 Islamic green 46 A courtly color (11th-14th centuries) 51 The beauty of green 54 A place for green: the orchard 58 A time for green: the spring 65 Youth, love, and hope 71 A chivalrous color 78 A green hero: Tristan 83 A dangerous color (14th-16th centuries) 87 Satan's green bestiary 90 From green to greenish 97 The green knight 103 The dyer's vats 112 "Gay green" and "lost green" 118 Heraldic green 125 The colors of the poet 129 A secondary color (16th-19th centuries) 135 Protestant morals 138 The green of painters 142 New knowledge, new classifications 152 Alceste's ribbons and the green of the theater 155 Superstitions and fairy tales 159 Green in the age of the enlightenment 167 A romantic color? 172 A soothing color (19th-21st centuries) 179 A fashionable color 182 Return to the palette 186 Chevreul and the scientists did not like green 193 Neither did Kandinsky or the Bauhaus 200 Green in everyday life 205 Nature in the heart of the cities 209 Green today 217 Acknowledgments 223 Notes 224 Bibliography 235 Photography credits 240.
  • (source: Nielsen Book Data)9780691159362 20160616
In this beautiful and richly illustrated book, the acclaimed author of Blue and Black presents a fascinating and revealing history of the color green in European societies from prehistoric times to today. Examining the evolving place of green in art, clothes, literature, religion, science, and everyday life, Michel Pastoureau traces how culture has profoundly changed the perception and meaning of the color over millennia-and how we misread cultural, social, and art history when we assume that colors have always signified what they do today. Filled with entertaining and enlightening anecdotes, Green shows that the color has been ambivalent: a symbol of life, luck, and hope, but also disorder, greed, poison, and the devil. Chemically unstable, green pigments were long difficult to produce and even harder to fix. Not surprisingly, the color has been associated with all that is changeable and fleeting: childhood, love, and money. Only in the Romantic period did green definitively become the color of nature. Pastoureau also explains why the color was connected with the Roman emperor Nero, how it became the color of Islam, why Goethe believed it was the color of the middle class, why some nineteenth-century scholars speculated that the ancient Greeks couldn't see green, and how the color was denigrated by Kandinsky and the Bauhaus. More broadly, Green demonstrates that the history of the color is, to a large degree, one of dramatic reversal: long absent, ignored, or rejected, green today has become a ubiquitous and soothing presence as the symbol of environmental causes and the mission to save the planet. With its striking design and compelling text, Green will delight anyone who is interested in history, culture, art, fashion, or media.
(source: Nielsen Book Data)9780691159362 20160616
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
240 pages : illustrations (chiefly color) ; 29 cm
In Vision and Art, Harvard neurobiologist Margaret Livingstone demonstrates that how we see art depends ultimately on the cells in our eyes and our brains. In this new expanded edition Livingstone thoroughly updates this groundbreaking study with the latest findings gathered from her research, with 32 additional pages of new text and images, including 3 brand new chapters. She begins by offering a comprehensive account of the biology of vision, drawing on the history of science and her own cutting edge discoveries. She then turns to art and delves into the science underlying various phenomena in painting, using many examples from the mysterious allure of the Mona Lisa to the amazing atmospheric effects of the impressionists to illustrate her points. Along the way, she shows how similar effects can be used to enhance the impact of advertisements, and explores the different ways images look in paintings, in photographs, on TV, and on computer screens. Accompanying Livingstone's lively and lucid prose are many easy to understand charts and diagrams that clarify her points. Some of these illustrations are based on simple and elegant experiments that show us how the human visual system translates light into color. Others demonstrate how cells in the retina code information and send it to the brain. Still others shed light on how great painters devise techniques to fool the eye into seeing depth and movement. By skillfully bridging the space between science and art, Vision and Art will arm artists and designers with new techniques that they can use in their own craft and thrill any reader with an interest in the biology of human vision.
(source: Nielsen Book Data)9781419706929 20160614
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
xiii, 214 pages : illustrations ; 26 cm
  • 1. Geography and geology: the land-- 2. Brief outline of Egyptian history-- 3. Study of the material world of ancient Egypt-- 4. Dress and personal adornment-- 5. Housing and furniture-- 6. Food and drink-- 7. Hygiene and medicine-- 8. Containers of clay and stone-- 9. Tools and weapons-- 10. Basketry, rope, matting-- 11. Faience and glass-- 12. Transportation-- 13. Sport and games.
  • (source: Nielsen Book Data)9780521886161 20160612
The Material World of Ancient Egypt examines the objects and artifacts, the representations in art, and the examples of documentation that together reveal the day-to-day physical substance of life in ancient Egypt. This book investigates how people dressed, what they ate, the houses they built, the games they played, and the tools they used, among many other aspects of daily life, paying great attention to the change and development of each area within the conservative Egyptian society. More than any other ancient civilization, the ancient Egyptians have left us with a wealth of evidence about their daily lives in the form of perishable objects, from leather sandals to feather fans, detailed depictions of trades and crafts on the walls of tombs, and a wide range of documentary evidence from temple inventories to personal laundry lists. Drawing on these diverse sources and richly illustrating his account with nearly one hundred images, William H. Peck illuminates the culture of the ancient Egyptians from the standpoint of the basic materials they employed to make life possible and perhaps even enjoyable.
(source: Nielsen Book Data)9780521886161 20160612
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
223 p. : ill. (mostly col.) ; 29 cm.
This title presents a celebration of vision, of art and of the relationship between the two. Artists see the world in physical terms as we all do. However, they may be more perceptive than most in interpreting the complexity of how and what they see. In this fascinating juxtaposition of science and art history, ophthalmologists Michael Marmor and James G. Ravin examine the role of vision and eye disease in art. They focus on the eye, where the process of vision originates and investigate how aspects of vision have inspired - and confounded - many of the world's most famous artists. Why do Georges Seurat's paintings appear to shimmer? How come the eyes in certain portraits seem to follow you around the room? Are the broad brushstrokes in Monet's Water Lilies due to cataracts? Could van Gogh's magnificent yellows be a result of drugs? How does eye disease affect the artistic process? Or does it at all? "The Artist's Eyes" considers these questions and more. It is a testament to the triumph of artistic talent over human vulnerability and a tribute to the paintings that define eras, the artists who made them and the eyes through which all of us experience art.
(source: Nielsen Book Data)9780810948495 20160528
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
210 p. : ill. (chiefly col.) ; 25 cm.
Black - favorite color of priests and penitents, artists and ascetics, fashion designers and fascists - has always stood for powerfully opposed ideas: authority and humility, sin and holiness, rebellion and conformity, wealth and poverty, and good and bad. In this beautiful and richly illustrated book, the acclaimed author of "Blue" now tells the fascinating social history of the color black in Europe. In the beginning was black, Michel Pastoureau tells us. The archetypal color of darkness and death, black was associated in the early Christian period with hell and the devil but also with monastic virtue. In the medieval era, black became the habit of courtiers and a hallmark of royal luxury.Black took on new meanings for early modern Europeans as they began to print words and images in black and white, and to absorb Isaac Newton's announcement that black was no color after all. During the romantic period, black was melancholy's friend, while in the twentieth century black (and white) came to dominate art, print, photography, and film, and was finally restored to the status of a true color. For Pastoureau, the history of any color must be a social history first because it is societies that give colors everything from their changing names to their changing meanings - and black is exemplary in this regard. In dyes, fabrics, and clothing, and in painting and other art works, black has always been a forceful - and ambivalent - shaper of social, symbolic, and ideological meaning in European societies. With its striking design and compelling text, "Black" will delight anyone who is interested in the history of fashion, art, media, or design.
(source: Nielsen Book Data)9780691139302 20160528
Science Library (Li and Ma)
CHEMENG-12SC-01

7. The arts of China [2008]

Book
ix, 353 p. : ill. (some col.), maps ; 27 cm.
  • Preface to the Fifth Edition ix Chronological Table of Dynasties and Modern Republics x Reign Periods of the Ming and Qing Dynasties xi 1 Before the Dawn of History 1 2 The Early Bronze Age: Shang andWestern Zhou 15 3 Eastern Zhou and the Period of theWarring States 45 4 The Qin and Han Dynasties 65 5 The Three Kingdoms and the Six Dynasties 99 6 The Sui and Tang Dynasties 131 7 The Five Dynasties and the Song Dynasty 161 8 The Yuan Dynasty 203 9 The Ming Dynasty 223 10 The Qing Dynasty 253 11 The Twentieth Century and Beyond 283 Notes 315 Books for Reference and Further Reading 325 List of Maps and Illustrations 331 Index.
  • (source: Nielsen Book Data)9780520255685 20160528
For the fifth edition of his internationally renowned "The Arts of China", Michael Sullivan has thoroughly revised and expanded every chapter of this classic history of Chinese art from the Neolithic period to the present day. This new edition reflects the latest archaeological discoveries, pays greater attention to the art of calligraphy, provides more information on Chan (Zen) art, and takes a close look at contemporary art. New images have been added to almost every chapter: the work now features more than four hundred photographs, maps, and illustrations, with more than two-thirds of them in full color.Written in the engaging and lucid style that is Sullivan's hallmark, "The Arts of China" is readily accessible to general readers as well as serious students of art history. Sullivan's approach remains true to the way the Chinese themselves view art, providing readers with a sense of the sweep of history through China's dynasties. This organizational strategy makes it easy for readers to understand the distinct characteristics of each period of art and to gain a clearer view of how Chinese art has changed in relation to its historical context. With many improvements that bring it fully up to date, "The Arts of China" will remain the most comprehensive and widely read introduction to the history of Chinese art.
(source: Nielsen Book Data)9780520255685 20160528
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
xvi, 301 p. : ill. (chiefly col.), col. maps ; 32 cm.
  • Writing supports
  • Text and decoration
  • Correction, glossing, and annotation
  • Assembling, binding, and storing the completed manuscript
  • Working with medieval manuscripts
  • Punctuation and abbreviation
  • Encounters with damaged manuscripts
  • Assessing manuscript origin and provenance
  • Manuscript description
  • Selected scripts
  • The Bible and related texts
  • Liturgical books and their calendars
  • Books of hours
  • Charters and cartularies
  • Maps
  • Rolls and scrolls
  • Appendix : tools for the study of medieval Latin / by Anders Winroth
  • Glossary.
Green Library, Science Library (Li and Ma)
CHEMENG-12SC-01
Book
xv, 208 p. : ill. (chiefly col.) ; 29 cm.
  • Aesthetic considerations
  • The eye of the artist
  • The importance of drawing
  • Principles of visual reality
  • Color
  • Techniques of painting in oils
  • Oil painting materials
  • Portraiture
  • Landscape painting
  • Still-life painting.
As more and more artists today look to the past, there has been a tremendous resurgence of interest in painting realistically - in creating convincing illusions of three-dimensional depth on two dimensional surfaces. This comprehensive sourcebook explores the most advanced levels of oil painting, with full information on the latest scientific discoveries. Author and distinguished artist Virgil Elliott examines the many elements that let artists take the next step in their work: mental attitude, aesthetic considerations, the importance of drawing, principles of visual reality, materials, techniques, portraiture, photographic images versus visual reality, and colour.
(source: Nielsen Book Data)9780823030668 20160603
Science Library (Li and Ma)
CHEMENG-12SC-01

10. Rembrandt [2006]

Book
256 p. : ill. (chiefly col.) ; 27 cm.
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
256 p. : col. ill. ; 27 cm.
The Arts of Asia is the first book to analyse and survey some of the most beautiful materials used in Asian art and the ways in which they have been transformed into glorious works of art over the centuries. Each material is studied in turn - jade, silk, porcelain, lacquer, ivory, bamboo, paper, gold, stone and wood - with clear explanations of the techniques used in the artistic process, from ancient prehistory to the art of the present day. Ideally suited to the needs of the ever-growing number of collectors, the book will also be required reading for any student of Asia and its cultures.
(source: Nielsen Book Data)9780500238233 20160527
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
192 p. : ill. (some col.) ; 27 cm.
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 sixteenth-century paintings by conservation, scientific, and curatorial staff at the National Gallery in London.
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
216 p. : ill. (some col.) ; 25 cm.
  • INTRODUCTION Color is Not Black and White 7 1. AN UNCOMMON COLOR Prehistory to the Twelfth Century 13 2. A NEW COLOR The Eleventh to the Fourteenth Century 49 3. A MORAL COLOR The Fifteenth to the Seventeenth Century 85 4. THE FAVORITE COLOR The Eighteenth to the Twentieth Century 123 5. BLUE TODAY 179 Notes 182 Bibliography 206 Index 213 Photography Credits 216.
  • (source: Nielsen Book Data)9780691090504 20160528
Blue has a long and topsy-turvy history in the Western world. Once considered a hot color, it is now icy cool. The ancient Greeks scorned it as ugly and barbaric, but most Americans and Europeans now pick it as their favorite color. In this entertaining history, the renowned medievalist Michel Pastoureau traces the changing meanings of blue from its rare appearances in prehistoric art to its international ubiquity today in blue jeans and Gauloises cigarette packs. Any history of color is, above all, a social history. Pastoureau investigates how the ever-changing role of blue in society has been reflected in manuscripts, stained glass, heraldry, clothing, paintings, and popular culture. Beginning with the almost total absence of blue from ancient Western art and language, the story moves to medieval Europe. As people began to associate blue with the Virgin Mary, the color entered the Church despite the efforts of chromophobic prelates. Blue was reborn as a royal color in the twelfth century and functioned as a formidable political and military force through the French Revolution. As blue triumphed in the modern era, new shades were created, and blue became the color of romance. Finally, Pastoureau follows blue into contemporary times, when military clothing gave way to the everyday uniform of blue jeans, and blue became the universal and unifying color of the Earth as seen from space. With an exceptionally elegant design and strikingly illustrated with one hundred color plates, "Blue" tells the fascinating history of our favorite color and the cultures that have hated it, loved it, and created great art with it.
(source: Nielsen Book Data)9780691090504 20160528
Green Library, Art & Architecture Library (Bowes), Science Library (Li and Ma)
CHEMENG-12SC-01
Book
xx, 481 p. : ill. ; 25 cm.
  • Preface to the Second Edition.Preface to the First Edition. Acknowledgments for the Second Edition. Acknowledgments for the First Edition. LIGHT AND COLOR. Some Fundamentals: Color, Light, and Interactions. COLOR INVOLVING VIBRATIONS AND SIMPLE EXCITATIONS. Color Produced by Incandescence. Color Produced by Gas Excitations. Color Produced by Vibrations and Rotations. COLOR INVOLVING LIGAND FIELD EFFECTS. Color Caused by Transition Metals in a Ligand Field. COLOR INVOLVING MOLECULAR ORBITALS. Color in Organic Molecules. Charge Transfer Color. COLOR INVOLVING BAND THEORY. Color in Metals and Semiconductors. Color Centers. COLOR INVOLVING GEOMETRICAL AND PHYSICAL OPTICS. Dispersive Refraction and Polarization. Scattering and Nonlinear Effects. Interference and Diffraction. COLOR--RELATED TOPICS. Colorants of Many Types. Vision, Luminescence, Lasers, and Related Topics. Appendix A: Units, Chromaticity, and Color Order Systems. Appendix B: Incandescence Equations. Appendix C: Atoms and Simple Molecules. Appendix D: Crystal Fields, Ligand Fields, and Molecular Orbitals. Appendix E: Band Theory. Appendix F: Prism, Thin Film, and Layer Diffraction Grating. Appendix G: Recommendations for Additional Reading. Index.
  • (source: Nielsen Book Data)9780471391067 20160528
An updated and revised second edition of the acclaimed classic Have you ever wondered why the sky is blue, or a ruby red? This classic volume studies the physical and chemical origins of color by exploring fifteen separate causes of color and their varied and often subtle occurrences in biology, geology, mineralogy, the atmosphere, technology, and the visual arts. It covers all of the fundamental concepts at work and requires no specialized knowledge. Author Kurt Nassau includes hundreds of illustrations, tables, and photographs--as well as end--of--chapter problems--that aid in visualizing the concepts discussed. An updated bibliography permits readers to pursue their own particular interests and an expanded series of appendices cover advanced topics. The Physics and Chemistry of Color, Second Edition is a one--of--a--kind treatment of color that provides both detailed physical and chemical properties of color and a more general overview of the subject. It will prove highly useful to specialists and non--specialists alike--and fascinate those with varied interests from optics to art history.
(source: Nielsen Book Data)9780471391067 20160528
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
xviii, 702 p. : ill., maps ; 29 cm.
  • 1. Introduction Paul T. Nicholson and Ian Shaw-- Part I. Inorganic Materials: 2. Stone Barbara Aston, James Harrell and Ian Shaw-- 3. Soil Barry Kemp-- 4. Painting materials Stephen Quirke and Lorna Lee-- 5. Pottery Janine Bourriau, Pamela Rose and Paul Nicholson-- 6. Metals Jacke Ogden-- 7. Egyptian faience Paul Nicholson-- 8. Glass Paul Nicholson and Julian Henderson-- Part II. Organic Materials: 9. Papyrus Bridget Leach and John Tait-- 10. Basketry Willeke Wendrich-- 11. Textiles Gillian Vogelsang-Eastwood-- 12. Leatherwork and skin products Carol van Driel-Murray-- 13. Ivory and related materials Robert Morkot and Olga Krzyszkowska-- 14. Ostrich eggshells Jacke Phillips-- 15. Wood Geoffrey Killen, Nigel Hepper, Peter Gasson and Rowena Gale-- 16. Mummies and mummification A. Rosalie David-- 17. Oil, fat and wax Margaret Serpico and Raymond White-- 18. Resins, amber and bitumen Margaret Serpico-- 19. Adhesives and binders Richard Newman, Margaret Serpico and Raymond White-- 20. Hair Joann Fletcher-- Part III. Food Technology: 21. Cereal production and processing Mary-Anne Murray-- 22. Brewing and baking Delwyn Samuel-- 23. Viticulture and wine production Mary-Anne Murray-- 24. Fruit, vegetables, pulses and condiments Mary-Anne Murray-- 25. Meat Processing Salima Ikram.
  • (source: Nielsen Book Data)9780521452571 20160528
This is a study of the procurement and processing of raw materials employed by the ancient Egyptians over the five millennia of the Predynastic and Pharaonic periods (c.5500-332 BC). During this time, not only were there variations in the preferred materials for particular types of artefacts, but also gradual processes of technological change, and the industries of the Chalcolithic period were complemented and sometimes superseded by the innovations of the Bronze and Iron Ages. Among the topics covered are stone quarrying, the building of temples and pyramids, techniques for preserving meat, fish, and poultry, glass and faience, the baking of bread, brewing of beers, preparation of oils and perfumes, and the mummification of humans and animals. Each chapter has been written by one or more specialists, drawing not only on conventional Egyptological skills but also on expertise in the natural sciences as applied to archaeological data.
(source: Nielsen Book Data)9780521452571 20160528
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
xi, 236 p. : ill. (some col.) ; 25 cm.
  • Preface.- The Structure and Analysis of Paintings.- Paint.- Organic Binders.- The Painter's Color and Light.- Color and Light.- Optics of Paint Films.- Beyond the Eye.- Detection of Fakes.- Object of Interaction.- Appendices A-L.- References.- Index.
  • (source: Nielsen Book Data)9780387987224 20160528
This book discusses the physics and materials science behind paintings: the pigments, binders, canvas, varnish and so forth, that go into making a painting appear the way it does. It discusses the physical principles behind the colors one sees in paintings and how they change with illumination, the various types of paint and binders used in both old and modern paintings, and the optics and microscopic structure of paint films. Chapters on dating, binders, and dendochronology are contributed by experts in the respective fields. The book includes problems and sample examinations.
(source: Nielsen Book Data)9780387987224 20160528
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
xvi, 328 p. : ill. (some col.) ; 27 cm.
This clear and accessible handbook introduces the nonspecialist to the physical examination of easel paintings and the historical and critical implications of such study. It takes the reader through the various layers of paintings, from support to varnish, and looks at information that might be attached to a painting's reverse, as well as the physical circumstances of its display. The authors demonstrate how this knowledge contributes to a wide range of historical and critical approaches, including iconography, regional and colonial studies, examination of artistic intent, interactions among artistic schools, and the history of collecting and exhibition. The book offers the only comprehensive discussion available on materials, techniques, and condition issues in Western easel paintings from medieval times to the present. It includes detailed case studies of twenty-five paintings by artists from Giotto and Leonardo to Vermeer, Degas, and Pollock. The extensive illustrations are drawn from more than forty-five international museums; the artists represented range from a Byzantine master and a Mexican colonial painter to living artists, including Helen Frankenthaler, Jacob Lawrence, and Robert Ryman. The book will fascinate and benefit beginning or advanced students of art history and their teachers, as well as painters, collectors, museum docents, and conservators. Those who have known paintings primarily from books, slides, and photographic reproductions will be exposed to a new dimension of their study.
(source: Nielsen Book Data)9780300080469 20160527
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
272 p. : ill. (some col.) ; 30 cm.
This survey of illuminated manuscripts provides art historians, specialists and lay readers with a comprehensive view of book manufacturing and decoration, from late Antiquity to the Renaissance.
(source: Nielsen Book Data)9780714829494 20160527
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
xiii, 206 p. : ill. ; 26 cm.
  • Preface-- Introduction-- Basic organic chemistry-- Analytic methods-- oils and fats-- Natural waxes-- Bituminous materials-- Carbohydrates: sugars and polysaccharides-- Proteins-- Natural resins and lacquers-- Synthetic materials-- Dyestuffs and other coloured materials-- Deterioration: causes and prevention-- Analysis in practice.
  • (source: Nielsen Book Data)9780750616935 20160528
This is a survey of the chemical composition, properties and analysis of the whole range of organic materials incorporated into objects and artworks found in museum collections. The authors cover the fundamental chemistry of the bulk materials such as wood, paper, natural fibres and skin products, as well as that of the relatively minor components incorporated as paint, media, varnishes, adhesives and dyes. This edition follows the structure of the first, though it has been extensively updated. In addition to chapters on basic organic chemistry, analytical methods, analytical findings and fundamental aspects of deterioration, the subject matter is grouped as far as possible by broad chemical class - oils and fats, waxes, bitumens, carbohydrates, proteins, natural resins, dyestuffs and synthetic polymers. Since the first edition, significant advances have been made in some fields - the red insect dyestuffs, synthetic varnish resins, and the use of antioxidants, for example - and are given more extended discussion, while some other topics, such as the synthetic resin parylene, are newly introduced. The book will serve the needs of restorers and conservators, museum scientists, students of conservation and curators as well as organic chemists faced with the challenging task of analysing small samples of complex and degraded natural products.
(source: Nielsen Book Data)9780750616935 20160528
Science Library (Li and Ma)
CHEMENG-12SC-01
Book
319 p. : ill. (some col.) ; 29 cm.
Science Library (Li and Ma)
CHEMENG-12SC-01