{"title":"Cultural Mediators","authors":"Jahnabi Barooah Chanchani","doi":"10.1086/714898","DOIUrl":"https://doi.org/10.1086/714898","url":null,"abstract":"","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/714898","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44817816","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}
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
{"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}
{"title":"The Preparatory Layers and Underdrawing of The Wedding Dance","authors":"B. Goodman","doi":"10.1086/707425","DOIUrl":"https://doi.org/10.1086/707425","url":null,"abstract":"","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/10.1086/707425","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42135044","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}
{"title":"Acknowledgments","authors":"","doi":"10.1086/707434","DOIUrl":"https://doi.org/10.1086/707434","url":null,"abstract":"","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/10.1086/707434","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44608750","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}
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
e《婚礼舞蹈》在其一生中至少有三个框架。在本文中，我们将它们称为原始框架、镀金框架和当前框架。关于勃鲁盖尔的装帧实践，人们知之甚少，但画作周边的状况表明，原始的画框是分开的，而不是固定的。269 e最早的《婚礼舞蹈》画框照片（图9.1）是1930年，也就是国防情报局获得这幅画的那一年。在这张照片中，这幅画挂在博物馆的镀金框架中。e在镜面光中捕捉到画作表面的右边缘，270显示出沿着画作周边的磨损（图9.2）。损伤是槽口摩擦（或槽口摩擦）的特征，该术语指的是由固定画作的框架边缘引起的油漆磨损。由于槽口摩擦是可见的，并且与镀金框架的边缘不对齐，这可能是由早期开口或视线尺寸稍小的框架引起的。然而，我们不知道这个早期的框架是原始的还是后来的替代品。简言之，在原始框架和镀金框架之间，还不知道有多少其他框架与e Wedding Dance配对。如照片所示，镀金框架有一个凸起的轮廓，或圆环，上图9.1 e 1930年，也就是国防情报局获得这幅画的那一年，镀金框架中的婚礼舞蹈
{"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}
{"title":"Plates","authors":"","doi":"10.1086/707416","DOIUrl":"https://doi.org/10.1086/707416","url":null,"abstract":"","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/10.1086/707416","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48044627","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}
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.
{"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}
Bruegel’s Wedding Dance looks remarkably di erent today from the way it appeared when it arrived at the DIA in 1930. We have almost no written records of what has happened to the painting since it entered the collection in 1930—and we have none of what happened to it before its acquisition by the DIA. As a result, the photographs and color print that depict e Wedding Dance have become an important source for our understanding of the painting’s condition and changes over time. e most consequential transformation occurred during William Suhr’s comprehensive conservation treatment of the painting in 1941. Although Suhr wrote a report in 1942 describing the condition of the painting after his treatment, it is the photographic documentation, supported by archival sources, that helps us contextualize and fully understand this important treatment. H I S T O R I C A L I M A G E S O F T H E W E D D I N G D A N C E
勃鲁盖尔的婚礼舞蹈今天看起来与1930年在DIA出现时的样子截然不同。我们几乎没有关于这幅画自1930年进入收藏以来发生了什么的书面记录，也没有关于它被国防情报局收购之前发生了什么。因此，描绘《婚礼舞蹈》的照片和彩色版画成为我们了解这幅画的状况和随时间变化的重要来源。最重要的转变发生在1941年威廉·苏尔对这幅画进行全面的保护处理期间。尽管苏尔在1942年写了一份报告，描述了这幅画在接受治疗后的状况，但正是有档案来源支持的摄影文献，帮助我们了解并充分理解了这一重要治疗。H I S T O R I C A L I M A G E S O F T H E W E D I N G A N C E
{"title":"The Changing Appearance of The Wedding Dance","authors":"Ellen Hanspach-Bernal, Blair Bailey","doi":"10.1086/707433","DOIUrl":"https://doi.org/10.1086/707433","url":null,"abstract":"Bruegel’s Wedding Dance looks remarkably di erent today from the way it appeared when it arrived at the DIA in 1930. We have almost no written records of what has happened to the painting since it entered the collection in 1930—and we have none of what happened to it before its acquisition by the DIA. As a result, the photographs and color print that depict e Wedding Dance have become an important source for our understanding of the painting’s condition and changes over time. e most consequential transformation occurred during William Suhr’s comprehensive conservation treatment of the painting in 1941. Although Suhr wrote a report in 1942 describing the condition of the painting after his treatment, it is the photographic documentation, supported by archival sources, that helps us contextualize and fully understand this important treatment. H I S T O R I C A L I M A G E S O F T H E W E D D I N G D A N C E","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/10.1086/707433","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48032922","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}
{"title":"Introduction","authors":"Ellen Hanspach-Bernal","doi":"10.1086/707419","DOIUrl":"https://doi.org/10.1086/707419","url":null,"abstract":"","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/10.1086/707419","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41708597","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}
{"title":"Appendix: Color Simulations","authors":"B. Goodman","doi":"10.1086/707435","DOIUrl":"https://doi.org/10.1086/707435","url":null,"abstract":"","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/10.1086/707435","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43568229","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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