Ann Massing (23 results)

Soft cover. Condition: Very Good. 24pp. Extremities lightly rubbed. Illus.; chronology; biblio. Stapled binding.

Condition: New. 2011. Paperback. . . . . . Books ship from the US and Ireland.

Condition: New. 2011. Paperback. . . . . .

Hardcover. Condition: Near Fine. 2003, hardback in jacket, 10 x 11.5 inches approx, 239 pages, illus. b&w and colour | gently read copy - clean and bright, tight spine, and free of name, notes etc ; jacket is clean and bright, shows light shelf wear | carefully packaged and dispatched from UK.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. Embossed black cloth, to apparent wear. Very slight tear to end-paper and lining of inside of front board. Text very clean, not inscribed. Jacket bright and clean Very heavy book, will incur extra postage (at cost) outside the UK.

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Brand New. 232 pages. 11.00x9.50x1.00 inches. In Stock.

Condition: New.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. 320pp. Corners lightly rubbed & bumped. Dj corners lightly bumped & chipped. Illus.; appendix; endnotes; glossary; biblio.; index. Text in English & French.

Condition: New.

hardcover. Condition: New. 1st.

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: As New. Unread book in perfect condition.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

240pp with 263 colour and 109 monochrome illustrations. Cloth 28.6x25cms. ISBN: 1872501079. Documents the examination and conservation of the Retable, one of Britain's largest and best preserved medieval altarpieces. The results of the technical examination are complemented by a series of articles placing the Retable in a technical and art historical context. The restoration of the altarpiece has provided new insights into the sophisticated practice of oil painting in England before the 15th century. Text in English.…

Condition: New.

Buch. Condition: Neu. Neuware - During the latter half of the eighteenth century, especially the period around and just after the French Revolution, what was happening in France in the field of painting restoration influenced all of Europe. In 1750, the museum in the Luxembourg Palace in Paris was opened to the public, and it became necessary to display to the public paintings which had been in storage for years. In the following decades, King Louis XVI and his advisor, the Comte d'Angiviller, developed and enlarged the national collection of paintings. And with this came the need for painting restorers doing quality work - more than just the quick repairs as done by painters in the past - and several full-time painting restorers were employed. By the time the museum in the Louvre was opened to the public in 1793, in the midst of the French Revolution, the profession had been established. During the latter half of the eighteenth century, painting restoration techniques improved and French restorers began to travel to England and to other European countries more frequently, spreading their practical knowledge - especially about the lining and transfer of paintings. In Paris, a national concours was prepared to choose the most capable from a growing group of candidates, and in 1802 plans were drafted for a school of restoration. In this book, the lives and careers of several of the more well-documented painting restorers for the French Royal Collection are traced one-by-one - including as much as possible about their restoration techniques.…

Condition: gut. Harvey Miller. The Westminster Retable. History, Technique, Conservation In englischer Sprache. pages.

Hardcover. Condition: New. Painting Restoration Before the Restauration: The Origins of the Profession in France Aby A. Massing The art of painting restoration is almost as old as the art of painting itself. Accidents and time inevitably alter the appearance of a painting, and these changes begin as soon as it leaves the artist's easel. Purposeful alterations due to changes in taste have also contributed to transformations that paintings often underwent. Clearly the type of restoration procedures considered ethically acceptable have changed over the centuries. From the Renaissance until the end of the nineteenth century, European paintings were considered as two-dimensional illusions of a three-dimensional space, and any disruption to this illusion was considered as damage requiring repair. There was no acknowledgement of painting supports as an integral part of a picture; only the paint layer and the subject represented were appreciated. As a result, panels were often thinned and cradled in order to flatten the painted surface so that the image depicted could be viewed with less distraction. Supports were even considered replaceable. Total transfer of a painted surface onto a new surface was an acceptable procedure in the eighteenth century even until the mid-twentieth century. Invisible retouching was used with the intent of returning the illusion of the painted surface to its original state; the history of the work was not important. Until recent times, it was even acceptable to alter the format of a work of art to fit a frame or a space on the wall. Traditionally, if a painting was accidentally damaged or if adjustments were required, a painter was entrusted with this task. In the past, the professions of painter and painting restorer overlapped, and both were trained as apprentices. Gradually the professional painting restorer appeared in Europe, and by the mid-eighteenth century, the profession was established. Earlier examples of professional restorers, especially in Italy, have been recorded while in other European countries, such as Britain, the career of the professional painting restorer began much later. During the later part of the eighteenth century in France, the painting restorers of the French Royal Collection became celebrated throughout Europe for their achievements. The political situation had an important influence on the development of the profession in France. The reigns of Francois I (1515-47), Louis XIV (1643-1715), Louis XVI (1774-93), and then the coup detat by Napoleon Bonaparte and the First Napoleonic Empire (1804-14) led to an increasing centralisation of the French Empire. The arts were meant to reflect the power of the state; thus Louis XIV and his political advisor and Surintendent from 1661 to 1685, Jean-Baptiste Colbert (1619-83), became the patrons of the French Academie de Peinture et Sculpture founded in 1648. A revision of the Academys statutes in 1665 required students to submit annually drawings that focused on the heroic actions of the king. Paintings conferred status on their owner in this instance the king and the French nation. It then became a necessity to have the paintings on display looking their best, and the skill of the French painting restorers was even used as a justification for Napoleons policy of confiscation of works of art from all over Europe. The relationship between the French governments administration, firstly under the Ancien Regime, then under the new Republic, and the painting restorers they employed and supervised is related in this book. The manner in which changes occurred involves colourful personalities whose stories are often amusing and sometimes poignant, but above all they help us to understand the present-day situation. For during the turbulent years of the French Revolution new patterns emerged, which to a large extent remained in place in France for over two centuries.…

Couverture rigide. Condition: Neuf. Dust Jacket Condition: Neuf. Edition originale. Harvey Miller Painting and Practice(HMPP 3) A.Massing Painting Restoration before "La Restauration" The Origins of the Profession in France Add to basket -> 320 p., 240 b/w ill., 238 x 280 mm, 2012 ISBN: 978-1-905375-34-9 Languages: English Hardback The publication is available During the latter half of the eighteenth century, especially the period around and just after the French Revolution, what was happening in France in the field of painting restoration influenced all of Europe. In 1750 the museum in the Luxembourg Palace in Paris was opened to the public, and it became necessary to display to the public paintings which had been in storage for years. In the following decades King Louis XVI and his advisor, the Comte d'Angiviller, developed and enlarged the national collection of paintings. And with this came the need for painting restorers doing quality work - more than just the quick repairs as done by painters in the past - and several full-time painting restorers were employed. By the time the museum in the Louvre was opened to the public in 1793, in the midst of the French Revolution, the profession had been established. During the latter half of the eighteenth century, painting restoration techniques improved and French restorers began to travel to England and to other European countries more frequently, spreading their practical knowledge - especially about the lining and transfer of paintings. In Paris, a national concours was prepared to choose the most capable from a growing group of candidates, and in 1802 plans were drafted for a school of restoration. In this book the lives and careers of several of the more well-documented painting restorers for the French Royal Collection are traced one-by-one - including as much as possible about their restoration techniques. Ann Massing has a degree in the History of Art and Fine Art from Indiana University, Bloomington, Indiana and has the title of Diplom-Restorator from the Institut für Technologie der Malerei, Stuttgart, Germany. She is a painting restorer and was Assistant to the Director of the Hamilton Kerr Institute from 1978 to 2007.Review "Le documentazioni e testimonianze riunite in questo volume così denso, quale che sia il giudizio che noi diamo dei singoli episodi, offrono in ogni caso al lettore la possibilità di un'affascinante incursione in una grande stagione della storia del restauro." (Giorgio Bonsanti, in: Kermes, N° 89, Gennaio-Marzo 2013, p. 77-78) Language : english text 320 p., 240 b/w ill., 238 x 280 mm, 2012 ISBN: 978-1-905375-34-9 Languages: English Hardback The publication is available. Retail price: EUR 155,00 excl. tax Size: 238 x280 mm. …