The Actual Material Used to Create a Work of Art
Materials and Techniques
DEFINITION
The substances or materials used in the creation of a work of fine art, as well as any product or manufacturing techniques, processes, or methods incorporated in its fabrication. This information includes a description of both the materials used to create the work and the fashion in which they were put together.
SUBCATEGORIES
Description EXTENTPROCESSES OR TECHNIQUES
NAMEIMPLEMENTMATERIALSFunctionNAMEColourSOURCEMARKS
EngagementACTIONSREMARKSCITATIONSWord
This category identifies the materials of which a work is equanimous; where applicable, the "office" of a textile (which is a repeatable subcategory) may be distinguished every bit medium (e.g., oil paint, watercolor, graphite) or as support (e.g., canvas, oak console, laid newspaper).
Source
An object or work's concrete composition is described after careful examination. Conservators may be consulted to identify specific pigments. Techniques often considered in the realm of scientific exam, such as 10-radiography, may also be used to decide the relationship of i layer of pigment to another, or the presence or absenteeism of an underdrawing.
USES
"Support" is frequently used every bit a traditional manner of organizing materials, especially in museum collections.
Different media may exist used at specific stages in the procedure of creating a piece of work of art. In studying the creative procedure, a researcher may wish to examine the employ of particular combinations of materials in the evolution of some works. For example, black chalk on blue laid paper was often used for portrait studies.
New materials often influence blueprint, such as the use of bent plywood or tubular steel in early twentieth-century furniture.
The question of "paw" is significant in the effort to determine an attribution for a work of art. Considering an artist volition handle materials in unlike ways, and because different modes of expression are more appropriate to one technique than another (consider the expressive character of a brush-and-ink drawing in relation to a pen-and-ink drawing), group works by these characteristics is useful for purposes of comparing.
RELATIONSHIPS
The ways by which a piece of work was assembled or created, including a detailed word of the relationship of one pigment or textile to another, are recorded in FACTURE.
Detailed scientific examination of the piece of work can exist described in CONDITION/EXAMINATION HISTORY. Concrete changes that took place later the object or work was created or manufactured should exist recorded under Condition/Test HISTORY, except for those resulting from conservation or restoration treatment, which should be recorded in CONSERVATION/TREATMENT HISTORY.
Specific patterns or shapes formed with the materials mentioned here should be noted in the category Physical DESCRIPTION.
Admission
The data in the subcategories of MATERIALS AND TECHNIQUES tin can be used to formulate queries in association with other characteristics of a work. This will make it possible, for example, to locate Venetian works on blue paper, Flemish etchings from the eighteenth century, or trois-crayon drawings that were not made in French republic.
Materials and Techniques - Clarification
DEFINITION
A prose description of the technique, media, and support of the work of fine art.
EXAMPLES
oil on canvas [Effigy 17]
egg-tempera paint with tooled gilded-leaf halos on panel [Effigy 28]
oil or oil and tempera on panel transferred to canvas [Figure eight]
distemper (thin washes of pigment in animal glue) on linen [Effigy 24]
pen and chocolate-brown ink and blackness chalk on paper [Figure 30]
silverpoint, with white heightening, on silver-gray prepared paper
cherry-red and black chalk and dark-brown and reddish launder, squared in black chalk [Effigy 27]
pen and brown (iron-gall) ink and wash, graphite, watercolor, gouache and opaque white, with gum standard arabic and scraping out, on gray wove paper
aquatint over an etched outline
etching, engraving, and drypoint on laid newspaper
gelatin silver impress [Effigy 12]
statuary
iron, artificially oxidized
Carrara marble on granite base
engraved and polished dark green agate [Figure 29]
marble with polychromy [Figure eleven]
Volkswagen omnibus with 20 sledges, each carrying felt, fatty, and a flashlight [1]
gold plate over silver, with semiprecious stones
leaded and stained glass
wool and cotton
veneered with mahogany, with gilded bronze mounts [Figure xiii]
gilded maple
painted and glazed earthenware
soft-paste porcelain, colored enamel decoration, gilding [Figure one]
boulle marquetry in brass and tortoise shell
"The stage was in the cellar, and all the lights in the shop were out; groans rose from a trap-door. Another joker hidden behind a wardrobe insulted the persons present... [T]he Dadas, without ties and wearing white gloves, passed dorsum and forth... André Breton chewed up matches, Ribemont-Dessaignes kept screaming, 'It's raining on a skull,' Aragon caterwauled. Philipe Soupault played hide-and-seek with Tzara, while Benjamin Péret and Charchoune shook hands every other minute. On the doorstep, Jacques Rigaut counted the automobiles and the pearls of the lady visitors..." [2]
Word
This subcategory supplies a description of the technique, media, and support of the object insofar as they have to practice with the creation of the piece of work of art. It clarifies the human relationship between the media and the techniques used to use them. Technique is the instrument or method used in the application of media, including any reproductive method. Medium is the material applied to the support. Support describes the characteristics of the surface upon which media accept been applied. For case, for a drawing described pen and brownish ink and black chalk on newspaper [Figure 30], pen is the musical instrument; ink and black chalk are the media; and paper is the support.
If more than one technique or medium was used, it is useful to listing them in the sequence of their application, if known (eastward.thou., graphite, pen and black ink, with gray wash) or the order of their importance (e.one thousand., red and black chalk and brown and reddish launder, squared in black chalk [Effigy 27]).
Access
In order to have admission to the information in this description, the other sets of subcategories of MATERIALS AND TECHNIQUES should repeat equally necessary for each technique, medium, or support described. These subcategories allow for the indexing of materials, in relation to their roles, colors, the techniques used to apply them, and the sources used to identify them.
Colors, such as ruby, blue, or pale dark-green, are a distinguishing characteristic of materials or media. Since color tin can be associated with both a medium and a support, as in the case of blue newspaper and red ink, a link must be maintained between these terms to maintain this meaning.
Materials and Techniques - Extent
DEFINITION
The specific part of a piece of work composed of a certain cloth manufactured or created using a particular technique.
EXAMPLES
overallsurface
statue
baselid
backing board
lower console
glaze
DISCUSSION
Works of art can be made up of many dissimilar parts, each equanimous of different materials, or fabricated using different techniques. Recording the extent of the employ of a particular cloth or technique clarifies this relationship.
TERMINOLOGY/FORMAT
The use of a controlled vocabulary is recommended, such equally the AAT (particularly Materials hierarchy and OBJECTS Facet), ACRL/RBMS Binding Terms, ACRL/RBMS Genre Terms, ACRL/RBMS Paper Terms, ACRL/RBMS Printing and Publishing Testify, Base Mérimée: Lexique, the British Archaeological Thesaurus, ICOM Costume Terms, the Index of Jewish Fine art, ISO 5127-3: Iconic Documents, ISO 5127-eleven: Acoustic Documents, LC Descriptive Terms for Graphic Materials, Moving Image Materials, Revised Nomenclature, Reyniès' Le Mobilier Domestique, and Tozzer Library Headings.
Materials and Techniques - Processes or Techniques
DEFINITION
The means, method, process, or technique by which a material was used in the creation of a work.
Materials and Techniques - Processes or Techniques - Name
DEFINITION
The proper noun of a process or technique used in the creation of a work.
EXAMPLES
drawing [Effigy 27]painting [Figure vi and Effigy 28]
sculpting [Figure11]
stumping
pricking
carving
intaglio [Figure 29]
engraving
etching
gilding
weaving
chasing
tooling
aquatint
burnishing
coating
overpainting
montage
inlaid
collage
red figure [Effigy xvi]
finger painting
underdrawing
drawing à deux crayons
stipple engraving
stumping
stencil
duplicating
impasto
gelatin-silver impress [Effigy 12]
assemblage
chromogenic color process
DISCUSSION
Materials can be fashioned, formed, or practical to an object or work in many different ways, with greatly varying results.
Identification of procedure or techniques, printmaking or photography, is a skill that requires connoisseurship. The process past which an object, work, or prototype was created may non exist known or may be under dispute.
USES
Identifying the technique by which a material was practical or shaped describes the object or work more than clearly. Information technology too makes it possible to grouping other similar objects or works on the ground of technique.
TERMINOLOGY/FORMAT
The use of a controlled vocabulary is recommended, such as the AAT (particularly Processes and Techniques hierarchy), ACRL/RBMS Bounden Terms, or the Index of Jewish Art.
Materials and Techniques - Processes or Techniques - Implement
DEFINITION
The name of whatsoever implement or tool used to create the work using the procedure or technique recorded in MATERIALS AND TECHNIQUES - PROCESSES OR TECHNIQUES.
EXAMPLES
roulettecompass
chisel
brush
eraser
chain saw
palette pocketknife
felt tip pen
jacquard loom
burin
sable brush
scorper
pen
pencil
fingers
DISCUSSION
Recording the name of the implement[s] used to create a piece of work using a detail technique makes it possible to distinguish between otherwise similar ways of creating a work of fine art.
TERMINOLOGY/FORMAT
The use of a controlled vocabulary is recommended, such as the AAT (especially Tools and Equipment hierarchy), and Revised Classification.
Materials and Techniques - Materials
DEFINITION
An identification of the materials used to create the work of art, along with an indication of where they were employed.
DISCUSSION
An identification of the materials used by an artist is disquisitional to an understanding of the work and how information technology was created. The information recorded about materials used in a work of fine art is complex. For example, it is of import to know not simply the name of the material, but besides how the material was used in the creation of the work (MATERIALS - ROLE), what colour it is, where the textile comes from, and what identifying marks can be constitute on the material (MATERIALS - MARKS). Each of these pieces of information provides an additional inkling to understanding the process of creating the work of art.
The identification of an artist'southward materials can be very straightforward. In other cases, it involves a degree of theorize and opinion. A technical analysis may be necessary in order to identify a detail cloth.
Materials and Techniques - Materials - Role
DEFINITION
The role that a fabric plays in the limerick of the work.
EXAMPLES
supportmedium
DISCUSSION
Information technology is particularly important to distinguish between medium and support. Support is the primary material of which the object is made (eastward.grand., marble, wood, statuary, canvas, or newspaper). There may be principal and secondary supports (every bit with a canvas of paper mounted to paper-thin). If materials are practical over the support (e.g., oil pigment or chalk), these are the media.
Materials and Techniques - Materials - Name
DEFINITION
The blazon of material of which a piece of work is composed.
EXAMPLES
forestglass
marble
poplar
charcoal
vernis Martin
laid paper
female parent of pearl
egg tempera
paint
oil paint
gold
iron gall ink
bronze
ink
gouache
canvas
Conté crayon [TM]
Cream-Cor [TM]
burlap sacking
deer bone
cinnabar
amethyst
fiberglass
Formica [TM]
the artist
DISCUSSION
This subcategory repeats to index all media and supports used to create the object. The caste of particular with which a material is described--for instance, whether poplar or woods is used to describe a console support--is defined by institutional policy. The identification of materials is sometimes a matter of dispute which may require a technical examination. Uncertainty must be accommodated.
TERMINOLOGY/FORMAT
The use of a controlled vocabulary is recommended, such as the AAT (especially Materials hierarchy), ACRL/RBMS Newspaper Terms, the British Archaeological Thesaurus, and Revised Nomenclature.
Materials and Techniques - Materials - Colour
DEFINITION
The color of the material of which a work is composed.
EXAMPLES
vivid yellowcerulean bluish
red
light green
black
white
strong yellowish brown
stake imperial
Discussion
This subcategory specifies the colour of a material that is used in the creation of the work.
The identification of color is subjective, and the vocabulary used to describe color may be vague. Comparison a work to a standard color chart is one mode to accomplish a level of consistency in this data.
TERMINOLOGY/FORMAT
The apply of a controlled vocabulary is recommended, such as the AAT Color hierarchy.
Materials and Techniques - Materials - Source
DEFINITION
The geographic identify from which the materials used to create the work of art originated.
EXAMPLES
SiberiaChina
Carrara, Tuscany, Italian republic
probably North Africa
DISCUSSION
The sources of materials can be found in specialized texts that deal with the commerce and history of materials. Dubiety should exist accomodated.
TERMINOLOGY/FORMAT
The use of an authority of geographic places is recommended; sources of vocabulary include TGN, Canadiana Government, and LC Proper name Regime. Hierarchical relationships betwixt places should be maintained.
Materials and Techniques - Materials - Marks
DEFINITION
A clarification and identification of marks inherent in or applied to the cloth before it was fashioned into the piece of work of art, including watermarks and stationers' stamps or marks.
EXAMPLES
foolscapdomestic dog with a glaze of arms in a circle
snake with a ring
letters MJ in orb with cross
fleur de lys above a banded shield; countermark: STACE [3]
Florentine lily in double circle with F beneath and CAC above
crescents in a circle (perchance arms of Piccolomini)
indistinct (probably walking human) [four]
star in circle with cross (like Briquet 6088)
watermark: none visible through lining [5]
Word
This subcategory should contain descriptions or accurate transcriptions of marks or text on the materials used to make the object or work. If the marker corresponds to published dictionaries (due east.g., dictionaries of watermarks), this should be indicated.
Marks should be transcribed or described later close examination of the object. Descriptions may also be drawn from published catalogs or unpublished conservators' reports.
ACCESS
In gild to have access to the data in the descriptions illustrated in the to a higher place examples, an authority of marks is recommended. A proper noun and the dates discussed in the following subcategory could exist stored in such an say-so. The use of consequent syntax is recommended. Controlled vocabulary should exist used to bespeak the type of motif or piece of work. See for case, the AAT (especially Data Forms hierarchy).
Materials and Techniques - Materials - Marks - Date
DEFINITION
The appointment or range of dates at which a detail marker in a fabric was in widespread use.
EXAMPLES
1646ca. 1740 - ca. 1752
earlier 1574
DISCUSSION
The date of the marker found on the work assists in providing a date for the piece of work itself, and in authenticating information technology. The data in this subcategory may be plant in the standard sources that itemize marks on works, or assigned on the basis of specialized cognition.
TERMINOLOGY/FORMAT
Dates tin be recorded in two means: as text (illustrated in the higher up examples), and every bit two integers indicating the beginning of a date span and the stop of a date bridge (dates BCE tin can be stored as negative values). Rigidly controlled format is required to allow retrieval. The use of engagement guidelines is recommended, such the AAT Date Guidelines or ISO 8601: Dates & Times.
Materials and Techniques - Actions
DEFINITION
An identification and description of any actions to exist performed during the execution of the work of art.
EXAMPLES
trip the light fantastic toerecitation
painting
standing
walking
clapping
watching
screaming
growing
melting
sleeping
pouring
rotting
laughing
Discussion
This subcategory specifies whatever actions that are incorporated into the work of art, linking them to the materials or techniques used in association with them.
The information in this subcategory may be determined on the footing of the clarification of the materials and techniques of the piece of work. When a piece of work is not well documented, all the actions that were incorporated into information technology may not be known. Uncertainty must be accommodated.
TERMINOLOGY/FORMAT
The use of controlled vocabulary is recommended, such equally the AAT Activities facet, Garnier's Thesaurus iconographique, LC Thesaurus for Graphic Materials, or ICONCLASS.
Materials and Techniques - Remarks
DEFINITION
Notes on the identification of the materials, techniques, or actions used in the creation of the work of art.
Materials and Techniques - Citations
DEFINITION
Refers to the sources of the information included in any of the MATERIALS AND TECHNIQUES subcategories, including works that helped identify a particular material or technique.
_________
ENDNOTES
i Joseph Beuys, The Pack, 1969 (Collection Herbig, Germany), in Robert Hughes, The Shock of the New: Art and the Century of Change (London: British Broadcasting Corporation, 1980), p. 383.
2 Maurice Nadeau, The History of Surrealism (New York, 1967), pp. 62-63; Edward Lucie-Smith, Art Today (Oxford: Phaidon, 1977), p. 392.
three Canadian Center for Architecture, "Watermark," in Collections Documentation Guide, (Montreal: 1993).
iv Canadian Centre for Compages, "Watermark," in Collections Documentation Guide, (Montreal: 1993).
five Paolo Posi, "Designs for the Chinea of 1760: Chinoiserie," Cara D. Denison, Myra Nan Rosenfeld, and Stephanie Wiles, Exploring Rome: Piranesi and His Contemporaries (New York: The Pierpont Morgan Library; Montréal: Canadian Middle for Architecture, 1993), cat. no. x, 16.
Source: http://besser.tsoa.nyu.edu/impact/f95/Cdwa/MATERIAL.HTML
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