91vkb1 Combine a Variety of Materials to Create a Work of Art
Materials and Techniques
DEFINITION
The substances or materials used in the creation of a work of art, likewise as any product or manufacturing techniques, processes, or methods incorporated in its fabrication. This information includes a clarification of both the materials used to create the work and the way in which they were put together.
SUBCATEGORIES
Description EXTENTPROCESSES OR TECHNIQUES
Proper nameIMPLEMENTMATERIALSROLENAMEColorSOURCEMARKS
DATEACTIONSREMARKSCITATIONSWord
This category identifies the materials of which a work is equanimous; where applicable, the "function" of a fabric (which is a repeatable subcategory) may be distinguished as medium (e.g., oil paint, watercolor, graphite) or as back up (e.one thousand., canvas, oak panel, laid newspaper).
Source
An object or work's physical composition is described subsequently careful exam. Conservators may be consulted to place specific pigments. Techniques ofttimes considered in the realm of scientific examination, such as X-radiography, may likewise exist used to determine the relationship of ane layer of pigment to another, or the presence or absenteeism of an underdrawing.
USES
"Support" is often used as a traditional style of organizing materials, especially in museum collections.
Different media may be used at specific stages in the process of creating a work of art. In studying the creative procedure, a researcher may wish to examine the employ of item combinations of materials in the development of some works. For example, blackness chalk on bluish laid paper was often used for portrait studies.
New materials often influence design, such equally the use of bent plywood or tubular steel in early twentieth-century furniture.
The question of "manus" is significant in the attempt to make up one's mind an attribution for a work of fine art. Because an artist will handle materials in different ways, and because different modes of expression are more appropriate to one technique than some other (consider the expressive character of a castor-and-ink drawing in relation to a pen-and-ink cartoon), grouping works by these characteristics is useful for purposes of comparison.
RELATIONSHIPS
The means past which a work was assembled or created, including a detailed discussion of the relationship of one paint or material to some other, are recorded in FACTURE.
Detailed scientific exam of the work can be described in CONDITION/EXAMINATION HISTORY. Physical changes that took place after the object or work was created or manufactured should exist recorded under Status/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 Concrete Clarification.
ACCESS
The information in the subcategories of MATERIALS AND TECHNIQUES can be used to formulate queries in association with other characteristics of a piece of work. This volition brand information technology possible, for case, to locate Venetian works on blue paper, Flemish etchings from the eighteenth century, or trois-crayon drawings that were non made in France.
Materials and Techniques - Description
DEFINITION
A prose description of the technique, media, and support of the work of art.
EXAMPLES
oil on canvas [Effigy 17]
egg-tempera paint with tooled golden-leaf halos on console [Figure 28]
oil or oil and tempera on console transferred to canvas [Figure 8]
distemper (thin washes of pigment in animal glue) on linen [Effigy 24]
pen and brown ink and blackness chalk on paper [Figure 30]
silverpoint, with white heightening, on silver-gray prepared paper
red and black chalk and brown and reddish wash, squared in black chalk [Figure 27]
pen and brown (fe-gall) ink and launder, graphite, watercolor, gouache and opaque white, with glue arabic and scraping out, on gray wove newspaper
aquatint over an etched outline
carving, engraving, and drypoint on laid paper
gelatin silverish impress [Figure 12]
bronze
atomic number 26, artificially oxidized
Carrara marble on granite base
engraved and polished dark greenish agate [Effigy 29]
marble with polychromy [Figure 11]
Volkswagen bus with 20 sledges, each carrying felt, fatty, and a flashlight [one]
aureate plate over silver, with semiprecious stones
leaded and stained glass
wool and cotton
veneered with mahogany, with golden bronze mounts [Figure xiii]
aureate maple
painted and glazed earthenware
soft-paste porcelain, colored enamel decoration, gilding [Figure 1]
boulle marquetry in brass and tortoise vanquish
"The stage was in the cellar, and all the lights in the store 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 back and forth... André Breton chewed upwards matches, Ribemont-Dessaignes kept screaming, 'Information technology's raining on a skull,' Aragon caterwauled. Philipe Soupault played hibernate-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]
DISCUSSION
This subcategory supplies a clarification of the technique, media, and support of the object insofar as they have to do with the creation of the piece of work of art. It clarifies the relationship between the media and the techniques used to apply them. Technique is the instrument or method used in the application of media, including whatsoever reproductive method. Medium is the material applied to the back up. Support describes the characteristics of the surface upon which media have been applied. For example, for a drawing described pen and brown ink and blackness chalk on paper [Effigy 30], pen is the musical instrument; ink and black chalk are the media; and paper is the support.
If more than than one technique or medium was used, information technology is useful to list them in the sequence of their application, if known (east.g., graphite, pen and black ink, with grayness wash) or the order of their importance (e.chiliad., crimson and black chalk and brownish and reddish wash, squared in black chalk [Figure 27]).
ACCESS
In order to have access to the information in this description, the other sets of subcategories of MATERIALS AND TECHNIQUES should repeat as necessary for each technique, medium, or support described. These subcategories permit for the indexing of materials, in relation to their roles, colors, the techniques used to apply them, and the sources used to place them.
Colors, such as red, blueish, or pale green, are a distinguishing characteristic of materials or media. Since color can exist associated with both a medium and a support, as in the case of blueish paper and red ink, a link must exist maintained between these terms to maintain this meaning.
Materials and Techniques - Extent
DEFINITION
The specific part of a work composed of a sure material manufactured or created using a particular technique.
EXAMPLES
overallsurface
statue
baselid
bankroll lath
lower console
glaze
Give-and-take
Works of fine art can be fabricated up of many different parts, each composed of different materials, or made using different techniques. Recording the extent of the use of a particular material or technique clarifies this relationship.
TERMINOLOGY/FORMAT
The utilize of a controlled vocabulary is recommended, such as the AAT (particularly Materials hierarchy and OBJECTS Facet), ACRL/RBMS Bounden Terms, ACRL/RBMS Genre Terms, ACRL/RBMS Paper Terms, ACRL/RBMS Press and Publishing Evidence, Base Mérimée: Lexique, the British Archaeological Thesaurus, ICOM Costume Terms, the Index of Jewish Fine art, ISO 5127-3: Iconic Documents, ISO 5127-11: Audio-visual 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 fabric was used in the creation of a piece of work.
Materials and Techniques - Processes or Techniques - Proper name
DEFINITION
The name of a process or technique used in the cosmos of a work.
EXAMPLES
drawing [Figure 27]painting [Effigy 6 and Effigy 28]
sculpting [Figure11]
stumping
pricking
etching
intaglio [Figure 29]
engraving
etching
gilding
weaving
chasing
tooling
aquatint
burnishing
blanket
overpainting
montage
inlaid
collage
red figure [Figure sixteen]
finger painting
underdrawing
drawing à deux crayons
stipple engraving
stumping
stencil
duplicating
impasto
gelatin-silvery print [Effigy 12]
assemblage
chromogenic color process
DISCUSSION
Materials tin can be fashioned, formed, or applied to an object or piece of work in many dissimilar means, with greatly varying results.
Identification of procedure or techniques, printmaking or photography, is a skill that requires connoisseurship. The process past which an object, piece of work, or image was created may not be known or may be nether dispute.
USES
Identifying the technique by which a material was applied or shaped describes the object or work more clearly. It also makes it possible to group other similar objects or works on the footing of technique.
TERMINOLOGY/FORMAT
The utilise of a controlled vocabulary is recommended, such as the AAT (specially Processes and Techniques hierarchy), ACRL/RBMS Binding Terms, or the Index of Jewish Art.
Materials and Techniques - Processes or Techniques - Implement
DEFINITION
The proper noun of whatever implement or tool used to create the work using the process or technique recorded in MATERIALS AND TECHNIQUES - PROCESSES OR TECHNIQUES.
EXAMPLES
roulettecompass
chisel
brush
eraser
chain saw
palette knife
felt tip pen
jacquard loom
burin
sable castor
scorper
pen
pencil
fingers
Discussion
Recording the proper noun of the implement[southward] used to create a work using a particular 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 equally the AAT (particularly 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 critical to an understanding of the piece of work and how it was created. The information recorded virtually materials used in a work of fine art is circuitous. For example, it is important to know not only the name of the material, but also how the textile was used in the cosmos of the work (MATERIALS - Role), what color it is, where the cloth comes from, and what identifying marks can exist found on the fabric (MATERIALS - MARKS). Each of these pieces of information provides an additional clue to understanding the process of creating the work of fine art.
The identification of an artist'south materials can be very straightforward. In other cases, it involves a caste of conjecture and opinion. A technical assay may exist necessary in gild to identify a detail textile.
Materials and Techniques - Materials - Role
DEFINITION
The role that a textile plays in the limerick of the piece of work.
EXAMPLES
supportmedium
Word
It is particularly of import to distinguish betwixt medium and support. Support is the primary material of which the object is made (e.1000., marble, wood, bronze, canvas, or paper). There may be primary and secondary supports (as with a sheet of paper mounted to paper-thin). If materials are applied over the support (east.m., oil paint or chalk), these are the media.
Materials and Techniques - Materials - Proper name
DEFINITION
The type of material of which a work is equanimous.
EXAMPLES
forestglass
marble
poplar
charcoal
vernis Martin
laid paper
mother of pearl
egg tempera
pigment
oil pigment
gold
iron gall ink
statuary
ink
gouache
sheet
Conté crayon [TM]
Cream-Cor [TM]
burlap sacking
deer os
cinnabar
amethyst
fiberglass
Formica [TM]
the artist
Discussion
This subcategory repeats to alphabetize all media and supports used to create the object. The degree of detail with which a material is described--for instance, whether poplar or woods is used to describe a panel back up--is defined by institutional policy. The identification of materials is sometimes a matter of dispute which may crave a technical exam. Uncertainty must be accommodated.
TERMINOLOGY/FORMAT
The utilize of a controlled vocabulary is recommended, such equally the AAT (especially Materials hierarchy), ACRL/RBMS Paper Terms, the British Archaeological Thesaurus, and Revised Nomenclature.
Materials and Techniques - Materials - Color
DEFINITION
The colour of the cloth of which a piece of work is equanimous.
EXAMPLES
vivid yellowcerulean blueish
red
low-cal green
black
white
strong yellow brown
stake purple
Word
This subcategory specifies the colour of a fabric that is used in the cosmos of the work.
The identification of color is subjective, and the vocabulary used to describe color may exist vague. Comparing a work to a standard color chart is one fashion to achieve a level of consistency in this information.
TERMINOLOGY/FORMAT
The use 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
SiberiaMainland china
Carrara, Tuscany, Italy
probably Northward Africa
DISCUSSION
The sources of materials can be constitute in specialized texts that deal with the commerce and history of materials. Uncertainty should exist accomodated.
TERMINOLOGY/FORMAT
The use of an say-so of geographic places is recommended; sources of vocabulary include TGN, Canadiana Government, and LC Name Government. Hierarchical relationships between places should be maintained.
Materials and Techniques - Materials - Marks
DEFINITION
A description and identification of marks inherent in or applied to the material earlier it was fashioned into the work of art, including watermarks and stationers' stamps or marks.
EXAMPLES
foolscapdog with a glaze of arms in a circumvolve
serpent with a ring
letters MJ in orb with cantankerous
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 (possibly arms of Piccolomini)
indistinct (probably walking man) [4]
star in circumvolve with cantankerous (similar 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 brand the object or work. If the mark corresponds to published dictionaries (east.thousand., dictionaries of watermarks), this should be indicated.
Marks should exist transcribed or described subsequently close examination of the object. Descriptions may besides be drawn from published catalogs or unpublished conservators' reports.
Access
In order to accept access to the information in the descriptions illustrated in the above examples, an dominance of marks is recommended. A proper noun and the dates discussed in the following subcategory could be stored in such an potency. The apply of consistent syntax is recommended. Controlled vocabulary should exist used to indicate the type of motif or work. Meet for example, the AAT (especially Information Forms hierarchy).
Materials and Techniques - Materials - Marks - Date
DEFINITION
The date or range of dates at which a detail mark in a fabric was in widespread employ.
EXAMPLES
1646ca. 1740 - ca. 1752
before 1574
Discussion
The date of the marker establish on the work assists in providing a appointment for the work itself, and in authenticating it. The information in this subcategory may be found in the standard sources that catalog marks on works, or assigned on the basis of specialized noesis.
TERMINOLOGY/FORMAT
Dates can be recorded in two ways: as text (illustrated in the higher up examples), and every bit two integers indicating the beginning of a date span and the end of a date span (dates BCE can be stored as negative values). Rigidly controlled format is required to allow retrieval. The employ of date guidelines is recommended, such the AAT Date Guidelines or ISO 8601: Dates & Times.
Materials and Techniques - Actions
DEFINITION
An identification and clarification of whatever actions to be performed during the execution of the work of fine art.
EXAMPLES
dancerecitation
painting
standing
walking
clapping
watching
screaming
growing
melting
sleeping
pouring
rotting
laughing
DISCUSSION
This subcategory specifies whatsoever actions that are incorporated into the work of fine 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 work. When a work is not well documented, all the actions that were incorporated into information technology may not be known. Uncertainty must exist accommodated.
TERMINOLOGY/FORMAT
The use of controlled vocabulary is recommended, such as 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 piece of work of art.
Materials and Techniques - Citations
DEFINITION
Refers to the sources of the information included in whatever of the MATERIALS AND TECHNIQUES subcategories, including works that helped identify a particular material or technique.
_________
ENDNOTES
1 Joseph Beuys, The Pack, 1969 (Collection Herbig, Deutschland), 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.
3 Canadian Middle for Compages, "Watermark," in Collections Documentation Guide, (Montreal: 1993).
iv Canadian Centre for Architecture, "Watermark," in Collections Documentation Guide, (Montreal: 1993).
5 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 Eye for Compages, 1993), cat. no. x, 16.
Source: http://besser.tsoa.nyu.edu/impact/f95/Cdwa/MATERIAL.HTML
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