Technical examination of the Emerson-White Book of Hours: observations on pigment preferences and media application in a Flemish manuscript
Abstract The Emerson-White Hours (MS Typ 443–443.1, Houghton Library, Harvard University) is a book of hours and missal produced in Valenciennes, Bruges, and Ghent in the late 1470s or early 1480s. There are seven full-page miniatures (many more have been removed), fourteen historiated borders, 28 h...
| Main Authors: | , , , , |
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| Format: | Article |
| Language: | English |
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SpringerOpen
2018-08-01
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| Series: | Heritage Science |
| Subjects: | |
| Online Access: | http://link.springer.com/article/10.1186/s40494-018-0211-4 |
| _version_ | 1819237149307830272 |
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| author | Debora D. Mayer Hope Mayo Erin Mysak Theresa J. Smith Katherine Eremin |
| author_facet | Debora D. Mayer Hope Mayo Erin Mysak Theresa J. Smith Katherine Eremin |
| author_sort | Debora D. Mayer |
| collection | DOAJ |
| description | Abstract The Emerson-White Hours (MS Typ 443–443.1, Houghton Library, Harvard University) is a book of hours and missal produced in Valenciennes, Bruges, and Ghent in the late 1470s or early 1480s. There are seven full-page miniatures (many more have been removed), fourteen historiated borders, 28 historiated initials, and 24 calendar illustrations in tempera and gold. Text pages have shell gold trompe-l’oeil borders. The illuminators include Simon Marmion, the Master of the Houghton Miniatures (named for this manuscript), the Master of the Dresden Prayerbook, and one of the Ghent Associates. The goal of analysis was to determine if identification of palettes supported previous stylistic attributions. Focusing on the illuminations attributed to Simon Marmion and the Houghton Master, we demonstrate that technical analysis can support attribution by identifying differences in artists’ pigment preferences, pigment blending, and technique of paint application, particularly how the artists render shadows. |
| first_indexed | 2024-12-23T13:15:44Z |
| format | Article |
| id | doaj.art-28b14ebeed7e4fc9b8d01c888e8db631 |
| institution | Directory Open Access Journal |
| issn | 2050-7445 |
| language | English |
| last_indexed | 2024-12-23T13:15:44Z |
| publishDate | 2018-08-01 |
| publisher | SpringerOpen |
| record_format | Article |
| series | Heritage Science |
| spelling | doaj.art-28b14ebeed7e4fc9b8d01c888e8db6312022-12-21T17:45:36ZengSpringerOpenHeritage Science2050-74452018-08-016112910.1186/s40494-018-0211-4Technical examination of the Emerson-White Book of Hours: observations on pigment preferences and media application in a Flemish manuscriptDebora D. Mayer0Hope Mayo1Erin Mysak2Theresa J. Smith3Katherine Eremin4Helen H. Glaser Conservator, Weissman Preservation Center, Harvard Library, Harvard UniversityPhilip Hofer Curator of Printing and Graphic Arts, Houghton Library, Harvard UniversityIndependent Conservation Scientist for the Weissman Preservation Center, Harvard Library, Harvard UniversityAssistant Professor of Paper Conservation, Garman Art Conservation Department, SUNY Buffalo StatePatricia Cornwell Conservation Scientist, Harvard Art Museums, Harvard UniversityAbstract The Emerson-White Hours (MS Typ 443–443.1, Houghton Library, Harvard University) is a book of hours and missal produced in Valenciennes, Bruges, and Ghent in the late 1470s or early 1480s. There are seven full-page miniatures (many more have been removed), fourteen historiated borders, 28 historiated initials, and 24 calendar illustrations in tempera and gold. Text pages have shell gold trompe-l’oeil borders. The illuminators include Simon Marmion, the Master of the Houghton Miniatures (named for this manuscript), the Master of the Dresden Prayerbook, and one of the Ghent Associates. The goal of analysis was to determine if identification of palettes supported previous stylistic attributions. Focusing on the illuminations attributed to Simon Marmion and the Houghton Master, we demonstrate that technical analysis can support attribution by identifying differences in artists’ pigment preferences, pigment blending, and technique of paint application, particularly how the artists render shadows.http://link.springer.com/article/10.1186/s40494-018-0211-4Illuminated manuscriptBook of hoursFlemishTechnical studyPigment identificationArtists’ technique |
| spellingShingle | Debora D. Mayer Hope Mayo Erin Mysak Theresa J. Smith Katherine Eremin Technical examination of the Emerson-White Book of Hours: observations on pigment preferences and media application in a Flemish manuscript Heritage Science Illuminated manuscript Book of hours Flemish Technical study Pigment identification Artists’ technique |
| title | Technical examination of the Emerson-White Book of Hours: observations on pigment preferences and media application in a Flemish manuscript |
| title_full | Technical examination of the Emerson-White Book of Hours: observations on pigment preferences and media application in a Flemish manuscript |
| title_fullStr | Technical examination of the Emerson-White Book of Hours: observations on pigment preferences and media application in a Flemish manuscript |
| title_full_unstemmed | Technical examination of the Emerson-White Book of Hours: observations on pigment preferences and media application in a Flemish manuscript |
| title_short | Technical examination of the Emerson-White Book of Hours: observations on pigment preferences and media application in a Flemish manuscript |
| title_sort | technical examination of the emerson white book of hours observations on pigment preferences and media application in a flemish manuscript |
| topic | Illuminated manuscript Book of hours Flemish Technical study Pigment identification Artists’ technique |
| url | http://link.springer.com/article/10.1186/s40494-018-0211-4 |
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