JAIC 1999, Volume 38, Number 1, Article 2 (pp. 03 to 20)
JAIC online
Journal of the American Institute for Conservation
JAIC 1999, Volume 38, Number 1, Article 2 (pp. 03 to 20)

FROM THE GROUND UP: THE GROUND IN 19TH-CENTURY AMERICAN PICTURES

JOYCE ZUCKER




REFERENCES

Arteni, S. C., and M. S., Posada. 1984. The secrets of the masters: Historical controversies and hypotheses. ICOM Committee for conservation preprints, 7th Triennial Meeting, Copenhagen. Paris: ICOM. 1:84.11.12.

Blaugrund, A. 1987. The Tenth Street Studio Building. Ph.D. diss., Columbia University.

Boime, A.1986. The academy and French painting in the nineteenth century. New Haven and London: Yale University Press. 22–43.

Bouvier, P. L.1844. Manuel des jeunes artistes et amateurs en peinture. 3d ed.Strasbourg: Ve Berger-Levrault.

Carlyle, L.1990. British nineteenth-century oil painting instruction books: A survey of their recommendations for vehicles, varnishes, and methods of paint application. In Cleanings, retouchings and coatings, ed.J. S.Mills and P.Smith. London: International Institute for Conservation of Historic and Artistic Works, 76–80.

Church, A.1915. The chemistry of paints and painting. London: Seely, Service & Co. Ltd.

Church, F. E.1885. Letter to the curator of the Corcoran Gallery of Art, February 24. Corcoran Gallery of Art, Washington, D.C.

Doerner, M.1984. The materials of the artist and their use in painting. New York: Harcourt Brace Jovanovich.

Dwyer, D.1985. John F. Kensett's painting technique. In John F. Kensett: An American master, ed.J. P.Driscoll and J. K.Howat. New York: Metropolitan Museum of Art.

Field, G.1869. Chromatography, salter's edition, London: Winsor and Newton.

Hartwell, D., and H. M., Parkin. 1999. Corcoran and Cody: The two versions of The Last of the Buffalo. Journal of the American Institute for Conservation38(1): 45–54.

Hendy, P., and A. S., Lucas. 1968. The ground in pictures. Museum21(4): 266–76.

Hubbard, H.1939. Materia pictoria oil painting. London: Pitman. 189–204.

Huntington, D.1966. The landscapes of Frederic Edwin Church. New York: George Braziller. 63.

Katlan, A. 1987. American artists' materials: Suppliers directory, 19th century. Park Ridge, N.J.: Noyes Publications.

Kelly, K. L., and D. B., Judd. 1976. The universal color language dictionary. Washington, D.C: National Bureau of Standards.

Kemp, W.1990. The desire of my eyes: The life and work of John Ruskin. New York: Fararr, Straus, and Giroux. 231.

Merim�e, J. F. L.1830. De la peinture � l'huile. Paris: Huzard.

Merim�e, J. F. L.1839. The art of painting in oil, trans. W. B. S. Taylor. London: Whittaker & Co.

Miaw, L.1989. Report on findings from samples of material from the paintings of Frederic Church identified by micro-Fourier transform infrared spectroscopy. Spectra-Probe, Inc., Slingerlands, N.Y.

Munsell. 1976. Munsell book of color, glossy finish collection. Baltimore, Md.: Kollmorgen Corp.

Osborn, L.1845. An American artist writes a hand-book of young artist's and amateurs in oil painting: A compilation of information selected from Bouvier, Merim�e, De Montabert, and others. New York: Willey and Putnam. 270–71.

Ridner, J.1850. Artist's chromatic handbook. New York: George P. Putnam.

Sheldon, G. W.1877. How one landscape painter paints. Art Journal3:284.

Stebbins, T. E.Jr.1983. A new world: Masterpieces of American painting 1760–1910. Boston: Museum of Fine Arts.

Thomas, Gregory. 1980. Technical report, The Icebergs. Fort Worth, Texas: Perry Huston and Associates.

Valle etBourniche. 1839. Anhygrometric linen for paintings. French patent, December 10.

Valuable secrets concerning arts and trades. 1795. Norwich, Conn.: T. Hubbard. 105–7.

Webber, J., and staff of the New York State Department of Health, Wadsworth Center for Laboratories and Research. 1990. Report on paint samples from the paintings of Frederic Church. New York State Department of Health, Albany, N.Y.

Williams, S.1988. Blooms, blushes, transferred images, and mouldy surfaces: What are these distracting accretions on art works? IIC-CG postprints, International Institute for Conservation—Canadian Group 14th Annual Conference, Toronto; Toronto, Ontario: IIC-CG. 65–84.

Woodhouse, T., and T., Milne. 1914. Jute and linen weaving. London: MacMillan. 71–79.

Zucker, J. S., and T.Newton. 1994. The examination and treatment of The Afterglow. In Frederic Edwin Church: Catalog raisonn� of works of art at Olana State Historic Site. New York: Cambridge University Press. 513–21.

Zucker, J. S.1987. Treatment report, Scene on Catskill Creek. New York State Office of Parks, Recreation, and Historic Preservation, Peebles Island Resource Center, Painting Laboratory.

Zucker, J. S.1988. Examination report, unfinished canvas, Frederic Edwin Church. New York State Office of Parks, Recreation, and Historic Preservation, Peebles Island Resource Center, Painting Laboratory.


AUTHOR INFORMATION

JOYCE ZUCKER earned her B.A. from the State University of New York at Albany with high honors. She attended the Cooperstown Graduate Program in the Conservation of Historic and Artistic Works and received a Certificate of Advanced Study and an M.A. in 1973 from the State University College at Oneonta. She served as an intern with Perry Huston at the Kimbell Art Museum and continued her work there as an assistant painting conservator. She is currently painting conservator at the Peebles Island Resource Center, New York State Office of Parks, Recreation, and Historic Preservation. During her 24 years with the state, she has concentrated her efforts on the study and treatment of 19th-century American paintings. She has lectured on the materials and techniques of Frederic Church and has benefited from the accessibility of the Frederic Church archive at Olana State Historic Site. She is currently surveying the collection of oil on paper sketches at Olana in preparation for a symposium on oil sketches.


Copyright � 1999 American Institute for Conservation of Historic and Artistic Works