The Materials and Craft of Early Iconographers
This book describes in detail the materials and techniques used by medieval iconographers. It offers information about the natural sources, the raw materials, the tools and the technologies involved in preparing them. The book allows entry into the secret
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Mihaela D. Leonida
The Materials and Craft of Early Iconographers
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Mihaela D. Leonida School of Natural Science Fairleigh Dickinson University Teaneck, New Jersey USA
ISSN 2192-1091 ISSN 2192-1105 (electronic) ISBN 978-3-319-04827-7 ISBN 978-3-319-04828-4 (eBook) DOI 10.1007/978-3-319-04828-4 Springer Cham Heidelberg New York Dordrecht London Library of Congress Control Number: 2014932422 © The Author(s) 2014 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. Permissions for use may be obtained through RightsLink at the Copyright Clearance Center. Violations are liable to prosecution under the respective Copyright Law. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. While the advice and information in this book are believed to be true and accurate at the date of publication, neither the authors nor the editors nor the publisher can accept any legal responsibility for any errors or omissions that may be made. The publisher makes no warranty, express or implied, with respect to the material contained herein. Printed on acid-free paper Springer is part of Springer Science+Business Media (www.springer.com)
To my father, the trail blazer Nothing is too small: against a gold background I paint it large and lovingly and hold it high, and I will never know whose soul it may release…. (Rainer Maria Rilke, The Book of Hours, 1905)
Foreword
This little book closes the gap between the heavily documented manuscript and icon painting traditions of Western Europe and of the Middle East. This is evident in its treatment of the preparation and use of painting materials used in the Southeastern European tradition, where it can be seen that its iconographers borrowed heavily from other sources, while at the same time maintaining their own standards, traditional methods and materials. For example, Romanian pigment makers were careful to insist on
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