REMBRANDT PIGMENTS BIBLIOGRAPHY
Phoebe Dent Weil / Northern Light Studio / 1602 Locust Street/ St. Louis, MO 63103
E-mail: phoebe@northernlightstudio.com
Prepared for the Workshop on Rembrandt’s Drawing and Painting Techniques presented
by Sarah Belchetz-Swenson and Phoebe Dent Weil / Museum of Fine Arts-Boston
11 January 2004
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General
Albus, Anita, The Art of Arts: Rediscovering Painting, tr. M. Robertson (New
York:Alfred A. Knopf) 2000.
Ball, Philip, Bright Earth: The Invention of Colour (London:Penguin) 2001.
Bomford, David, Christopher Brown and Ashok Roy, Art in the Making: Rembrandt
(London:National Gallery Publications) 1988. See especially, “Rembrandt’s
Painting Materials and Methods”, pp. 21-26.
Delamare, Francois and Bernard Guineau, Colors: The Story of Dyes and Pigments,
Discoveries series (New York:Harry N. Abrams) 2000.
Feller, Robert L. (vol.1), Ashok Roy (vol.2), and Elizabeth West Fitzhugh (vol. 3), eds.,.
Artists’ Pigments: A Handbook of their History and Characteristics, 3 vols.,(vol.
1, Cambridge and Washington: Cambridge Univ. Press and National Gallery of
Art) 1986; (vol. 2, Washington and New York:National Gallery of Art and Oxford
University Press) 1993; (vol. 3, Washington and New York:National Gallery of
Art and Oxford University Press) 1997.
Finlay, Victoria, Color: A Natural History of the Palette (NY:Ballantine) 2003.
Gettens, Rutherford J. and George L. Stout, Painting Materials: a Short Encyclopaedia
(New York:Dover) 1942,1966.
Harley, Rosamund, Artists’ Pigments c. 1600-1835: a study in English documentary
sources, 2nd ed., (London:Butterworth Scientific) 1982.
Lead white
Gettens, Rutherford J., Hermann Kuhn, and W.T. Chase, “Lead White”, Artists’
Pigments: A Handbook of their History and Characteristics, vol. 2, op. cit., pp.
67-81.
Chalk
Gettens, Rutherford J., Elisabeth West Fitzhugh and Robert L., Feller, “Calcium
Carbonate Whites”, Artists’ Pigments: A Handbook of their History and
Characteristics, vol. 2, op. cit., pp. 203-226.
Vermilion
Gettens, Rutherford J., Robert L. Feller, and W.T. Chase, “Vermilion and Cinnabar”,
Artists’ Pigments: A Handbook of their History and Characteristics, vol.2, op.
cit., pp. 159-182.
Red and yellow lakes
Hermens, Erma and Arie Wallert, “The Pekstok Papers, Lake Pigments, Prisons and Paint
Mills”, Looking Through Paintings: The Study of Painting Techniques and
Materials in Support of Art Historical Research, Erma Hermens, ed.
(London:Archetype Publications (1998)
2
P.D. Weil, Rembrandt Pigments Bibliography, ctd
Madder Lake
Chenciner, Robert, Madder Red: A history of luxury and trade, Caucasus World ser.
(Richmond, Surrey, UK:Curzon Press)2000.
Schweppe, Helmut and John Winter, “Madder and Alizarin”, Artists’ Pigments:
A Handbook of Their History and Characteristics, vol. 3, Elisabeth West
Fitzhugh, ed., (Washington, National Gallery of Art and New York, Oxford
University Press) 1997, pp. 109-142.
Carmine—Cochineal Carmine and Kermes Carmine
Schweppe, Helmut and Heinz Roosen-Runge, “Carmine—Cochineal Carmine
and Kermes Carmine”, Artists’ Pigments: A Handbook of their History and
Characteristics, vol. 1, Robert L. Feller, ed. (Washington: National Gallery of Art
and New York & Oxford: Oxford University Press) 1986, pp. 255-283
Lead-tin yellow
Kuhn, Hermann, “Lead-Tin Yellow”, Artists’ Pigments: A Handbook of their History and
Characteristics, vol 2, op. cit., pp. 83-112.
Smalt
Muhlethaler, Bruno and Jean Thissen, “Smalt”, Artists’ Pigments: A Handbook of their
History and Characteristics, vol. 2, op. cit., pp. 113-130.
Azurite
Gettens, Rutherford J., and Elisabeth West Fitzhugh, “Azurite and Blue Verditer”,
Artists’ Pigments: A Handbook of their History and Characteristics, vol 2, op.
cit., pp. 23-35.
Cassel Earth (Cologne Earth, Vandyke Brown)
Feller, Robert L. and Ruth M. Johnston-Feller, “Vandyke Brown”, Artists’ Pigments: A
Handbook of Their History and Characteristics, vol. 3, Elisabeth West Fitzhugh,
ed. (Washington, National Gallery of Art and New York, Oxford University
Press) 1997,pp. 157-190.