Refers to the Physical Material From Which a Work of Art Is Made
Materials and Techniques
DEFINITION
The substances or materials used in the creation of a work of art, also as any production 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
AppointmentACTIONSREMARKSCITATIONSDISCUSSION
This category identifies the materials of which a work is composed; where applicable, the "function" of a textile (which is a repeatable subcategory) may be distinguished equally medium (east.k., oil paint, watercolor, graphite) or every bit back up (e.g., sheet, oak panel, laid paper).
Source
An object or work's concrete composition is described afterwards careful exam. Conservators may be consulted to identify specific pigments. Techniques frequently considered in the realm of scientific test, such every bit X-radiography, may likewise be used to determine the human relationship of ane layer of pigment to some other, or the presence or absenteeism of an underdrawing.
USES
"Back up" is ofttimes used as a traditional manner of organizing materials, especially in museum collections.
Dissimilar media may be used at specific stages in the process of creating a piece of work of art. In studying the creative process, a researcher may wish to examine the use of particular combinations of materials in the evolution of some works. For example, black chalk on blueish laid paper was often used for portrait studies.
New materials frequently influence design, such equally the use of aptitude plywood or tubular steel in early on twentieth-century furniture.
The question of "hand" is significant in the attempt to make up one's mind an attribution for a piece of work of art. Because an artist will handle materials in different ways, and because unlike modes of expression are more advisable to one technique than some other (consider the expressive grapheme of a brush-and-ink cartoon in relation to a pen-and-ink cartoon), group works by these characteristics is useful for purposes of comparison.
RELATIONSHIPS
The means by which a work was assembled or created, including a detailed discussion of the relationship of one paint or fabric to another, are recorded in FACTURE.
Detailed scientific examination of the work can be described in CONDITION/EXAMINATION HISTORY. Physical changes that took identify after the object or work was created or manufactured should be recorded nether CONDITION/EXAMINATION HISTORY, except for those resulting from conservation or restoration treatment, which should exist recorded in CONSERVATION/TREATMENT HISTORY.
Specific patterns or shapes formed with the materials mentioned here should be noted in the category Physical Description.
Access
The information in the subcategories of MATERIALS AND TECHNIQUES can be used to formulate queries in association with other characteristics of a work. This will make it possible, for example, to locate Venetian works on bluish paper, Flemish etchings from the eighteenth century, or trois-crayon drawings that were not made in France.
Materials and Techniques - Description
DEFINITION
A prose description of the technique, media, and back up of the work of art.
EXAMPLES
oil on sail [Figure 17]
egg-tempera paint with tooled gold-leaf halos on console [Effigy 28]
oil or oil and tempera on panel transferred to sail [Effigy eight]
distemper (thin washes of pigment in beast mucilage) on linen [Effigy 24]
pen and brown ink and black chalk on paper [Figure thirty]
silverpoint, with white heightening, on silver-greyness prepared newspaper
blood-red and black chalk and chocolate-brown and reddish wash, squared in black chalk [Figure 27]
pen and brown (iron-gall) ink and wash, graphite, watercolor, gouache and opaque white, with gum arabic and scraping out, on gray wove newspaper
aquatint over an etched outline
etching, engraving, and drypoint on laid paper
gelatin silver impress [Figure 12]
bronze
iron, artificially oxidized
Carrara marble on granite base of operations
engraved and polished dark green agate [Figure 29]
marble with polychromy [Figure 11]
Volkswagen jitney with 20 sledges, each carrying felt, fat, and a flashlight [1]
gilt plate over silvery, with semiprecious stones
leaded and stained glass
wool and cotton
veneered with mahogany, with gilt bronze mounts [Figure 13]
gilded maple
painted and glazed earthenware
soft-paste porcelain, colored enamel decoration, gilding [Effigy ane]
boulle marquetry in brass and tortoise vanquish
"The stage was in the cellar, and all the lights in the shop 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 up matches, Ribemont-Dessaignes kept screaming, 'Information technology'southward raining on a skull,' Aragon caterwauled. Philipe Soupault played hibernate-and-seek with Tzara, while Benjamin Péret and Charchoune shook easily every other infinitesimal. On the doorstep, Jacques Rigaut counted the automobiles and the pearls of the lady visitors..." [2]
Discussion
This subcategory supplies a description of the technique, media, and support of the object insofar every bit they have to practise with the creation of the work of fine art. It clarifies the relationship between the media and the techniques used to apply them. Technique is the instrument or method used in the awarding of media, including any reproductive method. Medium is the textile practical to the support. Support describes the characteristics of the surface upon which media have been applied. For example, for a cartoon described pen and brown ink and blackness chalk on paper [Figure xxx], pen is the instrument; ink and black chalk are the media; and newspaper is the support.
If more than one technique or medium was used, information technology is useful to list them in the sequence of their application, if known (e.chiliad., graphite, pen and black ink, with gray wash) or the order of their importance (eastward.m., reddish and black chalk and brown 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 utilize them, and the sources used to identify them.
Colors, such as red, bluish, or stake green, are a distinguishing characteristic of materials or media. Since colour tin be associated with both a medium and a back up, as in the instance of blue paper and red ink, a link must be maintained betwixt these terms to maintain this pregnant.
Materials and Techniques - Extent
DEFINITION
The specific office of a work composed of a certain material manufactured or created using a detail technique.
EXAMPLES
overallsurface
statue
baselid
backing board
lower panel
glaze
DISCUSSION
Works of art tin be fabricated up of many different parts, each equanimous of dissimilar materials, or made using different techniques. Recording the extent of the use of a particular material or technique clarifies this relationship.
TERMINOLOGY/FORMAT
The use of a controlled vocabulary is recommended, such as the AAT (specially Materials hierarchy and OBJECTS Facet), ACRL/RBMS Binding Terms, ACRL/RBMS Genre Terms, ACRL/RBMS Paper Terms, ACRL/RBMS Printing and Publishing Evidence, Base Mérimée: Lexique, the British Archaeological Thesaurus, ICOM Costume Terms, the Index of Jewish Art, ISO 5127-three: Iconic Documents, ISO 5127-11: Audio-visual Documents, LC Descriptive Terms for Graphic Materials, Moving Image Materials, Revised Classification, Reyniès' Le Mobilier Domestique, and Tozzer Library Headings.
Materials and Techniques - Processes or Techniques
DEFINITION
The means, method, process, or technique by which a material was used in the creation of a work.
Materials and Techniques - Processes or Techniques - Name
DEFINITION
The proper name of a process or technique used in the creation of a work.
EXAMPLES
cartoon [Effigy 27]painting [Figure 6 and Effigy 28]
sculpting [Figure11]
stumping
pricking
carving
intaglio [Effigy 29]
engraving
etching
gilding
weaving
chasing
tooling
aquatint
burnishing
coating
overpainting
montage
inlaid
collage
cherry-red effigy [Effigy 16]
finger painting
underdrawing
drawing à deux crayons
stipple engraving
stumping
stencil
duplicating
impasto
gelatin-silver print [Figure 12]
assemblage
chromogenic color procedure
DISCUSSION
Materials can be fashioned, formed, or practical to an object or work in many dissimilar ways, with greatly varying results.
Identification of procedure or techniques, printmaking or photography, is a skill that requires connoisseurship. The process by which an object, work, or prototype was created may not be known or may be under dispute.
USES
Identifying the technique by which a material was applied or shaped describes the object or work more than clearly. It as well makes information technology possible to group other similar objects or works on the basis of technique.
TERMINOLOGY/FORMAT
The utilise of a controlled vocabulary is recommended, such equally the AAT (especially Processes and Techniques hierarchy), ACRL/RBMS Bounden Terms, or the Alphabetize of Jewish Art.
Materials and Techniques - Processes or Techniques - Implement
DEFINITION
The name of any implement or tool used to create the work using the process or technique recorded in MATERIALS AND TECHNIQUES - PROCESSES OR TECHNIQUES.
EXAMPLES
roulettecompass
chisel
castor
eraser
chain saw
palette knife
felt tip pen
jacquard loom
burin
sable brush
scorper
pen
pencil
fingers
DISCUSSION
Recording the name of the implement[s] used to create a work using a particular technique makes it possible to distinguish betwixt otherwise similar ways of creating a work of art.
TERMINOLOGY/FORMAT
The utilize of a controlled vocabulary is recommended, such equally the AAT (especially Tools and Equipment hierarchy), and Revised Nomenclature.
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 past an artist is disquisitional to an understanding of the work and how it was created. The information recorded about materials used in a work of art is complex. For example, it is important to know not only the proper noun of the cloth, but also how the material was used in the creation of the piece of work (MATERIALS - Role), what color it is, where the textile comes from, and what identifying marks tin can be found on the material (MATERIALS - MARKS). Each of these pieces of information provides an additional clue to understanding the process of creating the work of art.
The identification of an artist's materials tin can exist very straightforward. In other cases, it involves a degree of conjecture and opinion. A technical assay may be necessary in club to identify a particular material.
Materials and Techniques - Materials - Role
DEFINITION
The role that a textile plays in the limerick of the work.
EXAMPLES
supportmedium
Discussion
It is peculiarly important to distinguish between medium and support. Support is the primary textile of which the object is made (e.g., marble, woods, bronze, sheet, or paper). At that place may be principal and secondary supports (as with a sheet of paper mounted to cardboard). If materials are applied over the back up (e.one thousand., oil paint or chalk), these are the media.
Materials and Techniques - Materials - Name
DEFINITION
The type of textile of which a piece of work is composed.
EXAMPLES
woodglass
marble
poplar
charcoal
vernis Martin
laid newspaper
mother of pearl
egg tempera
paint
oil paint
gold
iron gall ink
bronze
ink
gouache
canvas
Conté crayon [TM]
Foam-Cor [TM]
burlap sacking
deer bone
cinnabar
amethyst
fiberglass
Formica [TM]
the artist
Give-and-take
This subcategory repeats to index all media and supports used to create the object. The degree of item with which a cloth is described--for example, whether poplar or woods is used to describe a console back up--is defined by institutional policy. The identification of materials is sometimes a matter of dispute which may crave a technical examination. Dubiety must be accommodated.
TERMINOLOGY/FORMAT
The apply of a controlled vocabulary is recommended, such equally the AAT (especially Materials hierarchy), ACRL/RBMS Newspaper Terms, the British Archaeological Thesaurus, and Revised Nomenclature.
Materials and Techniques - Materials - Colour
DEFINITION
The color of the material of which a work is composed.
EXAMPLES
bright xanthouscerulean bluish
cerise
light green
blackness
white
stiff yellow dark-brown
pale purple
Give-and-take
This subcategory specifies the color of a material that is used in the cosmos of the piece of work.
The identification of color is subjective, and the vocabulary used to depict color may be vague. Comparison a work to a standard color nautical chart is one style to accomplish a level of consistency in this information.
TERMINOLOGY/FORMAT
The utilize of a controlled vocabulary is recommended, such as the AAT Color hierarchy.
Materials and Techniques - Materials - Source
DEFINITION
The geographic place from which the materials used to create the piece of work of art originated.
EXAMPLES
SiberiaMainland china
Carrara, Tuscany, Italian republic
probably North Africa
Give-and-take
The sources of materials tin be constitute in specialized texts that deal with the commerce and history of materials. Uncertainty should exist accomodated.
TERMINOLOGY/FORMAT
The use of an authority of geographic places is recommended; sources of vocabulary include TGN, Canadiana Authorities, and LC Name Authorities. Hierarchical relationships betwixt places should be maintained.
Materials and Techniques - Materials - Marks
DEFINITION
A clarification and identification of marks inherent in or practical to the material before it was fashioned into the work of art, including watermarks and stationers' stamps or marks.
EXAMPLES
foolscapcanis familiaris with a coat of arms in a circle
serpent with a ring
letters MJ in orb with cross
fleur de lys in a higher place a banded shield; countermark: STACE [3]
Florentine lily in double circle with F below and CAC in a higher place
crescents in a circle (peradventure artillery of Piccolomini)
indistinct (probably walking human being) [4]
star in circumvolve with cantankerous (like Briquet 6088)
watermark: none visible through lining [v]
Discussion
This subcategory should contain descriptions or accurate transcriptions of marks or text on the materials used to make the object or work. If the mark corresponds to published dictionaries (e.g., dictionaries of watermarks), this should be indicated.
Marks should be transcribed or described later shut examination of the object. Descriptions may as well exist fatigued from published catalogs or unpublished conservators' reports.
Access
In club to take admission to the information in the descriptions illustrated in the higher up examples, an authority of marks is recommended. A name and the dates discussed in the following subcategory could exist stored in such an authority. The use of consistent syntax is recommended. Controlled vocabulary should be used to indicate the blazon of motif or work. See for instance, the AAT (specially Information Forms hierarchy).
Materials and Techniques - Materials - Marks - Date
DEFINITION
The date or range of dates at which a detail mark in a material was in widespread apply.
EXAMPLES
1646ca. 1740 - ca. 1752
earlier 1574
DISCUSSION
The date of the marking institute on the piece of work assists in providing a engagement for the piece of work itself, and in authenticating information technology. The data in this subcategory may exist found in the standard sources that catalog marks on works, or assigned on the basis of specialized knowledge.
TERMINOLOGY/FORMAT
Dates can exist recorded in two means: equally text (illustrated in the above examples), and as two integers indicating the outset of a date span and the finish of a appointment span (dates BCE can be stored as negative values). Rigidly controlled format is required to permit retrieval. The use of date guidelines is recommended, such the AAT Appointment Guidelines or ISO 8601: Dates & Times.
Materials and Techniques - Actions
DEFINITION
An identification and description of whatsoever deportment to be performed during the execution of the piece of work of 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 art, linking them to the materials or techniques used in association with them.
The information in this subcategory may be determined on the ground of the description of the materials and techniques of the work. When a piece of work is not well documented, all the actions that were incorporated into it may not be known. Uncertainty must be accommodated.
TERMINOLOGY/FORMAT
The employ of controlled vocabulary is recommended, such every bit 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 work of art.
Materials and Techniques - Citations
DEFINITION
Refers to the sources of the information included in whatsoever of the MATERIALS AND TECHNIQUES subcategories, including works that helped identify a particular fabric or technique.
_________
ENDNOTES
one Joseph Beuys, The Pack, 1969 (Collection Herbig, Frg), in Robert Hughes, The Stupor of the New: Fine art and the Century of Modify (London: British Broadcasting Corporation, 1980), p. 383.
2 Maurice Nadeau, The History of Surrealism (New York, 1967), pp. 62-63; Edward Lucie-Smith, Fine art Today (Oxford: Phaidon, 1977), p. 392.
3 Canadian Centre for Architecture, "Watermark," in Collections Documentation Guide, (Montreal: 1993).
four Canadian Middle for Compages, "Watermark," in Collections Documentation Guide, (Montreal: 1993).
five 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 Centre for Architecture, 1993), cat. no. x, sixteen.
Source: http://besser.tsoa.nyu.edu/impact/f95/Cdwa/MATERIAL.HTML
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