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Dunkerton, J, and Roy, A. "The Altered Background of Raphael's 'Portrait of Pope Julius II' in the National Gallery." The Burlington Magazine 146, no. 1220 (2004): 757-59. Link

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Dunkerton, J. and Roy, A. “Uccello’s ‘St. George and the Dragon’: Technical Evidence Re-evaluated”. National Gallery Technical Bulletin Vol 19 (1998): 26-30. Link

Dunkerton, J. and Syson, L. “In Search of Verrocchio the Painter: The Cleaning and Examination of ‘The Virgin and Child with Two Angels’”. National Gallery Technical Bulletin Vol 31 (2010): 4–41. Link

Dunkerton, J. and White, R. “The Discovery and Identification of an Original Varnish on a Panel by Carlo Crivelli”. National Gallery Technical Bulletin Vol 21 (2000): 70-76. Link

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Plazzotta, C., O'Malley, M., Roy, A., White, R., Wyld, M. '"The Madonna di Loreto": An Altarpiece by Perugino for Santa Maria dei Servi, Perugia”. National Gallery Technical Bulletin Vol 27 (2006): 72–95. Link

Rodríguez-López, A, Khandekar, N, Gates, G and Newman, R. "Materials and Techniques of a Spanish Renaissance Panel Painting." Studies in Conservation 52, no. 2 (2007): 81-100. Link

Rothe, A. “Andrea Mantegna’s ‘Adoration of the Magi’”. In Historical Painting Techniques, Materials and Studio Practice, 111-116. University of Leiden, June 1995. Link

Roy, A., et.al. “Raphael’s Early Work in the National Gallery: Paintings Before Rome”. National Gallery Technical Bulletin Vol 25 (2004): 4-35. Link

Roy, A. and Mancini, G. “‘The Virgin and Child with an Angel’, after Francia: A History of Error”. National Gallery Technical Bulletin Vol 31 (2010): 64–77. Link

Rowlands, E. W. Massaccio: Saint Andrew and the Pisa Altarpiece. Los Angeles, CA: Getty Museum Studies on Art, 2003. Link

Shearman, J, Hall, M., ed. The Princeton Raphael Symposium: Science in the Service of Art History. Princeton: Princeton University Press, 1990.

Solberg, Gail E. "A Reconstruction of Taddeo Di Bartolo's Altar-Piece for S. Francesco a Prato, Perugia." The Burlington Magazine 134, no. 1075 (1992): 646-56. Link

Strehlke, C. and Frosinini, C. The Panel Paintings of Masaccio and Masolino. Milan: Five Continents, 2002.

Syson, L, and Billinge, R. "Leonardo Da Vinci's Use of Underdrawing in the 'Virgin of the Rocks' in the National Gallery and 'St. Jerome' in the Vatican." The Burlington Magazine 147, no. 1228 (2005): 450-63. Link

Tucker, M. et.al. “Technique and Pontormo’s Portrait of Alessandro de’ Medici”, Pontormo, Bronzino and the Medici: The Transformation of the Renaissance Portrait in Florence, Philadelphia Museum of Art, 2004, pp. 34-54.

Anderson, J. "The Provenance of Bellini's Feast of the Gods and a New/Old Interpretation." Studies in the History of Art 45 (1993): 264-87. Link

Bayer, A, Mahon, D, Centeno, S A. "An Examination of Paolo Veronese’s Portrait of Alessandro Vittoria". Metropolitan Museum Journal v. 52 (2017). Link

Bayer, A, Gallagher, M, Centeno, S A. "Jacopo Bassano's ‘Baptism of Christ’". Artibus Et Historiae 34, no. 68 (2013): 83-103. Link

Brown, D A. "The Pentimenti in The Feast of the Gods." Studies in the History of Art 45 (1993): 288-99. Link

Brown, D.A. et. al. “Bellini, Giorgione and Titian and the Renaissance of Venetian Painting”. Technical Studies (2006): 285-310.

Bull, D, Plesters, J, Brown, C J, and Doumato, L. "Monograph Series II: The Feast of the Gods: Conservation, Examination, and Interpretation." Studies in the History of Art 40 (1990): 3-106. Link

Bull, D. "The Feast of the Gods: Conservation and Investigation." Studies in the History of Art 45 (1993): 366-73. Link

Carabell, P. "Finito and Non-Finito in Titian's Last Paintings." RES: Anthropology and Aesthetics no. 28 (1995): 78-93. Link

Daffara, C., Moioli, P., Salvadori, O., Seccaroni, C. Le Storie di Ester di Paolo Veronese in San Sebastiano: Studio dei processi esecutivi attraverso diagnostica per immagini. Italy: Nardini Editore, 2014.

DeLancey, J A. "'In the Streets Where They Sell Colors': Placing "vendecolori" in the Urban Fabric of Early Modern Venice." Wallraf-Richartz-Jahrbuch 72 (2011): 193-232. Link

Dunkerton, J. “Giorgione and not Giorgione: The Conservation History and Technical Examination of "Il Tramonto'''. National Gallery Technical Bulletin Vol 31 (2010): 42–63. Link

Dunkerton, J. “Recovering Titian: The Cleaning and Restoration of Three Overlooked Canvas Paintings” National Gallery Technical Bulletin Vol. 34 (2013): 106–21. Link

Dunkerton, J. “Tintoretto’s Underdrawing for ‘St. George and the Dragon’”. National Gallery Technical Bulletin Vol 28 (2007): 26-35. Link

Dunkerton, J. and Howard, H. “Sebastiano del Piombo’s Raising of Lazarus: A History of Change”. National Gallery Technical Bulletin Vol 30 (2009): 26-47. Link

Dunkerton, J., Penny, N., Spring, M. “The Technique of Garofalo’s Paintings at the National Gallery”. National Gallery Technical Bulletin Vol 23 (2002): 20-41. Link

Dunkerton, J., Penny, N., Roy, A. “Two Paintings by Lorenzo Lotto in the National Gallery”. National Gallery Technical Bulletin Vol 19 (1998): 52–63. Link

Dunkerton, J. and Roy, A. “The Technique and Restoration of Cima's "The Incredulity of S. Thomas"'. National Gallery Technical Bulletin Vol 10 (1986): 4–27. Link

Dunkerton, J, and Spring, M. “The Development of painting on coloured surfaces in sixteenth century Italy”, IIC, Contributions to the Dublin Congress, 7-11 September, 1998, p. 120-30. Link

Dunkerton, J. and Spring, M., with contributions from Billinge, R., Kalinina, K., Morrison, R., Macaro, G., Peggie, D. and Roy, A. “Titian’s Painting Technique to c.1540”. National Gallery Technical Bulletin Vol. 34 (2013): 4–31. Link

Echols, R. "Titian's Venetian Soffitti: Sources and Transformations." Studies in the History of Art 45 (1993): 28-49. Link

Falomir, M. "Titian, Jacopo Bassano and the ‘Purification of the Temple’". Artibus Et Historiae 34, no. 67 (2013): 275-84. Link

Freedberg, S.J. "The Attribution of the Allendale Nativity." Studies in the History of Art 45 (1993): 50-71. Link

Gasanova, S., Bakirtzis, N., Hermon, S. “Non-invasive sub-surface analysis of the male portrait underlying the Titian’s Studio Ecce Homo”. Herit Sci 5, 33 (2017). Link

Griswold, S P. "Two Paintings by El Greco: Saint Martin and the Beggar: Analysis and Comparison." Studies in the History of Art 41 (1993): 132-55. Link

Hills, P. Venetian Color: Marble, Mosaic, Painting and Glass, 1250-1550. Yale University Press, 1999.

Humfrey, P. “Titian, Italian 16th Century/Venus and Adonis c. 1540s/c. 1560-1565.” In Italian Paintings of the Sixteenth Century, NGA Online Editions, 2019. Link

Joannides, P. and Dunkerton, J. '"A Boy with a Bird" in the National Gallery: Two Responses to a Titian Question”. National Gallery Technical Bulletin Vol 28 (2007): 36–57. Link

Lank, H. "The Kingston Lacy 'Judgment of Solomon'". The Burlington Magazine 128, no. 1004 (1986): 809. Link

Lank, H. "Titian's 'Perseus and Andromeda': Restoration and Technique." The Burlington Magazine 124, no. 952 (1982): 400-06. Link

Lazzarini, L. et al. "Titian's Technique", Titian, Prince of Painters, National Gallery of Art, Washington, D.C., 1990, pp. 377 ff.

Lucas, A and Plesters, J. "Titian's Bacchus and Ariadne”. National Gallery Technical Bulletin Vol. 2 (1978): 25-48. Link

Marconi, A., “Un Caso Specifico: L’Amor Sacro e L’Amor Profano”, Bollettino D’Arte,  Supplemento, Giovanni Secco Suardo, La cultura del restauro tra tutela e conservazione dell’opera, d’arte, Atti del convegno internazionali di studi, Bergamo, 9-11 marzo, 1995, Ministero per I Beni Culturali e Ambientali, Istituto Poligrafico e Zecca dello Stato, pp 145-8.

Mckim-Smith, G, del Carmen Garrido, M, and Fisher, S L. "A Note on Reading El Greco's Revisions: A Group of Paintings of the Holy Family." Studies in the History of Art 18 (1985): 67-77. Link

Nygren, C J. “Titian’s Ecce Homo on Slate: Stone, Oil, and the Transubstantiation of Painting”. The Art Bulletin 99:1 (2017): 36-66. Link

Penny, N. and Spring, M. “Veronese’s Paintings in the National Gallery: Technique and Materials: Parts I and II”. National Gallery Technical Bulletin Vol. 16 (1995): 4-29, and V. 17 (1996): 32-55.
Part I: Link
Part II: Link

Pignatti, T. "Abbozzi and Ricordi: New Observations on Titian's Technique." Studies in the History of Art 45 (1993): 72-83. Link

Plesters, J. "Examination of Giovanni Bellini's Feast of the Gods: A Summary and Interpretation of the Results." Studies in the History of Art 45 (1993): 374-91. Link

Plesters, J. "Tintoretto's paintings in the National Gallery London". National Gallery Technical Bulletin Vol. 3 (1979): 3-24, Vol. 4 (1980): 32-48, Vol. 8 (1984): 24-35.
Part I: Link
Part II: Link
Part III: Link

Plesters, J. and Lazzarini, L. "Preliminary Observations on the Technique and Materials of Tintoretto", ICC Lisbon Congress, 1972. Link

Rothe, A. et. al. “Technical Examinations of Titian’s Venus and Adonis: A Note on Early Italian Oil Painting Technique”. In Historical Painting Techniques, Materials and Studio Practice, 117-126. University of Leiden, June 1995. Link

Rutherglen, S. “Painting at the Threshold: Pictures for Doors in Renaissance Venice”. The Art Bulletin 98, 4 (2016): 438-465. Link

Scirè, G N. "Tecniche Esecutive Di Alcuni Dipinti Di Tiziano." Studies in the History of Art 45 (1993): 400-13. Link

Spezzani, P. "Indagini Non Distruttive Sui Dipinti Di Tiziano in Venezia." Studies in the History of Art 45 (1993): 392-99. Link

Stevanato, R, Rovea, M, Ganzerla, R, Calogero, S. "Analysis of paint media: Giorgione (1478-1510) " Atti del Convegno Nazionale di Chimica Analitica, Società chimica italiana, Università di Pavia, 1992, pp.235-237.

Uffelman, E. S., Court, E., Marciari, J., Miller, A., Cox, L. “Handheld XRF Analyses of Two Veronese Paintings”. In Collaborative Endeavors in the Chemical Analysis of Art and Cultural Heritage Materials, Chapter 3, 51-73. July 10, 2012. Link

Alzeni, R. “’La Camera Rischiarata’: Rendiconto di un Restauro,” Federico Barocci, La Madonna della Gatta, eds: Natali, A., Onali, M. Silvana Editoriale, 2004, pp. 47-61.

Braham, A. and Dunkerton, J. “Fragments of a Ceiling Decoration by Dosso Dossi”. National Gallery Technical Bulletin Vol 5 (1981): 27–37. Link

Campbell, L., Dunkerton, J., Kirby, J., Monnas, L. “Two Panels by Ercole de' Roberti and the Identification of ‘Veluto Morello’”. National Gallery Technical Bulletin Vol 22 (2001): 29–41. Link

Dunkerton, J. “Cosimo Tura as Painter and Draughtsman: The Cleaning and Examination of his ‘Saint Jerome’”. National Gallery Technical Bulletin Vol 15 (1994): 42–53. Link

Dunkerton, J. “The Technique and Restoration of Bramantino's ‘Adoration of the Kings’”. National Gallery Technical Bulletin Vol 14 (1993): 42–61. Link

Dunkerton, J., Penny, N., Spring, M. “The Technique of Garofalo’s Paintings at the National Gallery”. National Gallery Technical Bulletin Vol 23 (2002): 20–41. Link

Dunkerton, J., Plazzotta, C. “Vincenzo Foppa's ‘Adoration of the Kings’”. National Gallery Technical Bulletin Vol 22 (2001): 18–28. Link

Dunkerton, J., Roy, A., Smith, A. “The Unmasking of Tura's ‘Allegorical Figure’: A Painting and its Concealed Image”. National Gallery Technical Bulletin Vol 11 (1987): 5–35. Link

Dunkerton, J., and Smith, A. “Ercole de' Roberti's ‘The Last Supper’”. National Gallery Technical Bulletin Vol 10 (1986): 33–38. Link

Dunkerton, J., and White, R. “The Discovery and Identification of an Original Varnish on a Panel by Carlo Crivelli”. National Gallery Technical Bulletin Vol 21 (2000): 70–76. Link

Keith, L. and Roy, A. “Giampietrino, Boltraffio, and the Influence of Leonardo”. National Gallery Technical Bulletin Vol 17 (1996): 4–19. Link

Malagodi, M., Rovetta, T., Licchelli, M. “Study of materials and techniques in painted ceiling panels from a palace in Cremona (Italy, 15th century)”. Herit Sci 2, 9 (2014). Link

Oriola-Folch, M., Campo-Francés, G., Nualart-Torroja, A. et al. “Novel nanomaterials to stabilise the canvas support of paintings assessed from a conservator’s point of view”. Herit Sci 8, 23 (2020). Link

Roy, A, Smith, P, and Bomford, D. “Painting techniques: history, materials and studio practice: contributions to the Dublin Congress 7-11” International Institute for Conservation of Historic and Artistic Works, London: September 1998.

Spring, M., Mazzotta, A., Roy, A., Billinge, R., Peggie, D. “Painting Practice in Milan in the 1490s: The Influence of Leonardo”. National Gallery Technical Bulletin Vol 32 (2011): 78–112. Link

Allden, M, and Beresford, R. "Two Altar-Pieces by Philippe De Champaigne: Their History and Technique." The Burlington Magazine 131, no. 1035 (1989): 395-406. Link

Barry, C., Georges de La Tour and his World. Washington: National Gallery of Art; New Haven: Yale University Press, 1996.

Christiansen, K. "Caravaggio and l'esempio davanti del naturale", The Art Bulletin (1986): 421-55. Link

Christiansen, K. A Caravaggio Rediscovered, The Lute Player. New York: The Metropolitan Museum of Art, 1990.

Christiansen, K. "Fresh Light on Caravaggio's Earliest Period: His 'Cardsharps' Rediscovered". The Burlington Magazine (January 1988): 11. Link

Erdmann, R, Richard, C., Schafer, M, Twilley, J, Sawyer, T. “Reuniting Poussin's Bacchanals Painted for Cardinal Richelieu through Quantitative Canvas Weave Analysis”. Journal of the American Institute for Conservation (2013). Link

Fahy, E, Rousseau, T, and von Sonneburg, H. “Juan de Pareja by Diego Velazquez”. The Metropolitan Museum of Art Bulletin v. 29, no. 10, Part II (June 1971). Link

García-Máiquez, J, Dávila, R, Portús Pérez, J. “Los retratos ecuestres de Felipe III y Margarita de Austria de Velázquez para el Salón de Reinos”. Museo del Prado Boletin Issue 29 (2011): 16. Link

Glanville, H. "Aspect and Prospect – Poussin's ‘Triumph of Silenus’". Artibus Et Historiae 37, no. 74 (2016): 241-54. Link

Glanville, H. "Varnish, Grounds, Viewing Distance, and Lighting: Some Notes on Seventeenth Century Italian Painting Technique". In Historical Painting Techniques, Materials and Studio Practice,12-19. University of Leiden, June 1995. Link

Greaves, J. "Technical Studies Relating to the Attribution of Caravaggio's 'The Conversion of the Magdalene' in the Detroit Institute of Arts", Bulletin AIC 14, No.2 (1974): 15-21. Link

Gregori et al. Come nascono i capolavori, Electa, Milano, 1991.

Griswold, S. “Two Paintings by El Greco, Analysis and Comparison”. Conservation Research, National Gallery of Art, Washington, Studies in the History of Art, Monograph Series II (1993):133-157.

Groen, K. "Scanning Electron Microscopy as an Aid in the Study of Blanching", The Bulletin of the Hamilton Kerr Institute, No. 1 (1988): 48-65.

Hale, C. “Dating Velazquez’s The Supper at Emmaus”. Metropolitan Museum Journal, Volume 40 (2005). Link

Harr, J. The Lost Painting. The Quest for a Caravaggio Masterpiece, Part III, The Restorer. Random House, New York, 2005, 143-248.

Harris, E, Lank, H. "The Cleaning of Velázquez's Portrait of Camillo Massimi." The Burlington Magazine 125, no. 964 (1983): 410-392. Link

Keith, L. “Three Paintings by Caravaggio”. National Gallery Technical Bulletin Vol 19 (1998): 37–51. Link

Keith, L. “Velasquez’s Painting Technique”. In Velasquez. National Gallery Company, London (2006): 70-91.

Keith, L., Carr, D.W. “Velázquez's ‘Christ after the Flagellation’: Technique in Context”. National Gallery Technical Bulletin Vol 30 (2009): 52–70. Link

de La Fontaine, J-H. L'Académie de peinture, nouvellement mis à jour pour instruire la jeunesse à bien peindre en huile et en miniature, Paris: J.-B. Loyson, 1679.

Lank, H. and Pemberton-Pigott, V. "The Use of Dimethylformamide Vapour in Reforming Blanched Oil Paintings”, in N. Brommelle and P. Smith, Conservation and Restoration of Pictorial Art, London: Butterworths, 1976, pp. 103-109.

Lydon, M. "The Prodigal Son Restored." Irish Arts Review (2002-) 29, no. 1 (2012): 90-95. Link

Massing, A. “From Books of Secrets to Encyclopedias: Painting Techniques in France between 1600 and 1800.” In Historical Painting Techniques, Materials and Studio Practice, 20-29. University of Leiden, June 1995. Link

McKim-Smith, G, Andersen-Bergdoll, G., Newman, R. Examining Velasquez. Yale: Yale University Press, 1988.

Sawyer, C, and Steele, M. "Poussin's "Holy Family on the Steps": New Technical Discoveries, Comparisons, and the Washington Copy." Cleveland Studies in the History of Art 4 (1999): 112-60. Link

Mena Marqués, M. "La Restauración de Las Meninas de Velazquez" Boletin del Museo del Prado, Vol. 5, No.14 (1984): 87-107.

Veliz, Z. Artist's Techniques in Golden Age Spain. Cambridge: Cambridge University Press, 1986.
Wallert, A., Hermens, E., Peek, M, eds. Historical painting techniques, materials, and studio practice. Preprints of a symposium, University of Leiden, the Netherlands, 26-29. June 1995. Los Angeles, CA: Getty Conservation Institute. Link

Ainsworth, M. et al.“Art and Autoradiography: Insight into the genesis of paintings by Rembrandt, Van Dyck and Vermeer”. The Metropolitan Museum of Art, 1982.

Albertson, G, Centeno, SA, and Eaker, A. "Margareta Haverman, A Vase of Flowers: An Innovative Artist Reexamined". Metropolitan Museum Journal v. 54 (2019). Link

Albrecht, M., de Noord, O., Meloni, S. et al. “Jan Steen’s ground layers analysed with Principal Component Analysis”. Herit Sci 7, 53 (2019). Link

Bijl, Martin, and Kloek, W. "A Painting Re-attributed to Aelbert Cuyp: Connoisseurship and Technical Research." The Burlington Magazine 156, no. 1331 (2014): 91-98. Link

Bradley, L, Meloni, S, Uffelman, E, Mass, J. “Scientific Examination and Treatment of a Painting by Gijsbert Gillisz d’Hondecoeter in the Mauritshuis”. ACS Symposium Series, Vol. 1103 (2012). Link

De Keyser, N., Van der Snickt, G., Van Loon, A. et al. “Jan Davidsz. de Heem (1606–1684): a technical examination of fruit and flower still lifes combining MA-XRF scanning, cross-section analysis and technical historical sources”. Herit Sci 5, 38 (2017). Link

Gifford, M. “Style and Technique in Dutch Landscape Painting in the 1620’s” In Historical Painting Techniques, Materials and Studio Practice, 140-147. University of Leiden, June 1995. Link

Groen, K and Murray, S., “Four early Dutch flower paintings examined with reference to Crispijn van de Passe’s Den Blom-Hof”, Hamilton Kerr Institute, Bulletin 2, University of Cambridge, 1994, pp7-20.

Hendriks, E, van Eikema Hommes, M. and Levy-van Halm, K., “Indigo used in the Haarlem civic guard group portraits by Frans Hals”, IIC, Contributions to the Dublin Congress, 7-11 September, 1998, pp. 166-70. Link

Keith, L. "Carel Fabritius' ‘A View in Delft’: Some Observations on Its Treatment and Display." National Gallery Technical Bulletin 15 (1994): 54-78. Link

Kirby, J. “The Painter's Trade in the Seventeenth Century: Theory and Practice”. National Gallery Technical Bulletin Vol 20 (1999): 5–49. Link

Krekeler, A, Smeenk-Metz, E, Benders, Z, and van de Laar, M. "Consistent Choices: A Technical Study of Johannes Cornelisz Verspronck's Portraits in the Rijksmuseum." The Rijksmuseum Bulletin 62, no. 1 (2014): 2-23. Link

Palmer, M, and Gifford, M."Jan Steen's Painting Practice: The Dancing Couple in the Context of the Artist's Career." Studies in the History of Art 57 (1997): 126-55. Link

Roy, A, ed. “Painting in Antwerp and London: Rubens and Van Dyck”. National Gallery Technical Bulletin Vol. 20 (1999). Link

Simoen, J., De Meyer, S., Vanmeert, F. et al. “Combined Micro- and Macro scale X-ray powder diffraction mapping of degraded Orpiment paint in a 17th century still life painting by Martinus Nellius”. Herit Sci 7, 83 (2019). Link

Spring, M. and Keith, L. “Aelbert Cuyp’s Large Dort. Colour Change and Conservation”. National Gallery Technical Bulletin (2009): 71-85. Link

Stols-Witlox, M. "'By No Means a Trivial Matter'. The Influence of the Colour of Ground Layers on Artists' Working Methods and on the Appearance of Oil Paintings, According to Historical Recipes from North West Europe, C. 1550-1900." Oud Holland 128, no. 4 (2015): 171-86. Link

Vandivere, A. "Changes of Identity in "Garland of Flowers and Vase" by Gaspar Peeter Verbruggen the Younger." Oud Holland 122, no. 2/3 (2009): 164-80. Link

van Dorst, S. “Daniel Seghergs, phoenix of flower-painters”. Hamilton Kerr Institute Bulletin number 6 (2016), Cambridge: The University of Cambridge.

van Loon, A., Noble, P., Krekeler, A. et al. “Artificial orpiment, a new pigment in Rembrandt’s palette”. Herit Sci 5, 26 (2017). Link

 

Rembrandt

Bomford, D. et al. Art in the Making: Rembrandt. New edition, London: National Gallery Company, 2006.

Brown, C, and Roy, A. "Rembrandt's 'Alexander the Great'." The Burlington Magazine 134, no. 1070 (1992): 286-98. Link

Dooley, K.A., Gifford, E.M., van Loon, A. et al. “Separating two painting campaigns in Saul and David, attributed to Rembrandt, using macroscale reflectance and XRF imaging spectroscopies and microscale paint analysis”. Herit Sci 6, 46 (2018). Link

Liedtke, W., Von Sonnenberg, H. Rembrandt/Not Rembrandt in The Metropolitan Museum of Art, Aspects of Connoisseurship. New York: The Metropolitan Museum of Art, 1995.

Noble, P, van Duijn, E, Hermens, E, Keune, K, van Loon, A, Smelt, S, Tauber, G, Erdmann, R. "An Exceptional Commission: Conservation History, Treatment and Painting Technique of Rembrandt’s Marten and Oopjen, 1634." The Rijksmuseum Bulletin 66, no. 4 (2018): 308-45. Link

Noble, P, van Loon, A, Alfeld, M, Janssens, K, Dik, J. “Rembrandt and/or Studio, Saul and David, c.1655: visualising the curtain using cross-section analyses and X-ray fluorescence imaging”. Techne C2RMF. (2012): 36-45. Link

Middelkoop, N. et. al. Rembrandt under the scalpel: the Anatomy Lesson of Dr. Nicolas Tulp Dissected, The Hague: Mauritshuis; Amsterdam: Six Art Promotion, 1998.

Scallen, C B. Rembrandt, Reputation, and the Practice of Connoisseurship. Amsterdam: Amsterdam University Press, 2004. Link

Talley, M K Jr. “Connoisseurship and the methodology of the Rembrandt Research Project”. International Journal of Museum Management and Curatorship Volume 8, Issue 2 (June 1989): 175-214. Link

Van der Wettering, E. Rembrandt: The Painter at Work. Eurospan, 1997.

Wallert, A. Techniques and Style. An Examination of Paintings from the Rijksmuseum. Waanders, 1999.

White, R. “Rembrandt and his Circle: Seventeenth-Century Dutch Paint Media Re-examined”. National Gallery Technical Bulletin Vol 15 (1994): 64-78. Link

 

Rubens

Altamora, M.L. “La tecnica artistica di Rubens nelle due grandi tele degli Uffizi”, Rubens agli Uffizi. Il restauro delle Storie di Enrico IV, Edifer, Florence, 2001, pp. 49-60.

Brown, C. “The Making of the Landscapes,” Making and Meaning. Rubens’s Landscapes. Chapter 8, National Gallery Publications Ltd., 1996, pp. 95-103.

Brown, C., Reeve, A., Wyld, M. “Rubens’ ‘The Watering Place’”. National Gallery Technical Bulletin Vol 6 (1982): 26–39. Link

Buck, R D. "Rubens’ The Gerbier Family: Examination and Treatment." Studies in the History of Art 5 (1973): 32-53. Link

Feller, R L. "Rubens’ The Gerbier Family: Technical Examination of the Pigments and Paint Layers." Studies in the History of Art 5 (1973): 54-74. Link

Keische, B, and Callahan, R C. "Rubens’ The Gerbier Family: Investigation by Lead Isotope Mass Spectrometry." Studies in the History of Art 5 (1973): 75-78. Link

Oliver, L., Healy, F., Roy, A., Billinge, R. “The Evolution of Rubens's ‘Judgement of Paris’ (NG194)”. National Gallery Technical Bulletin Vol 26 (2005): 4–22. Link

Plesters, J. “‘Samson and Delilah’: Rubens and the Art and Craft of Painting on Panel”. National Gallery Technical Bulletin Vol 7 (1983): 30–49. Link

Roy, A. “Rubens's ‘Peace and War’”. National Gallery Technical Bulletin Vol 20 (1999): 89–95. Link

Stechow, W. "Peter Paul Rubens’ Deborah Kip, Wife of Sir Baltbasar Gerbier, and Her Children." Studies in the History of Art 5 (1973): 6-22. Link

Woollett, A. and Suchtelen, A. V. Rubens and Brueghel: A working friendship. Zwolle: Waanders, 2008. Link

 

Van Dyck

Brown, C. "Anthony van Dyck at Work: “The Taking of Christ” and “Samson and Delilah”. Wallraf-Richartz-Jahrbuch 55 (1994): 43-54. Link

Christiansen, C. et. al., “Van Dyck’s Painting Technique, His Writings, and Three Paintings in the National Gallery of Art”, Anthony Van Dyck, National Gallery, Washington, 1990, pp. 45-52.

Harth, A., Van der Snickt, G., Schalm, O. et al. “The young Van Dyck’s fingerprint: a technical approach to assess the authenticity of a disputed painting”. Herit Sci 5, 22 (2017). Link

Roy, A. “The National Gallery Van Dycks: Technique and Development”. National Gallery Technical Bulletin Vol 20 (1999): 50–83. Link

White, C. “Anthony van Dyck: Thomas Howard the Earl of Arundel”, Getty Museum Studies on Art, Malibu, California, (1995). Link

 

Vermeer

Costaras, N. "A Study of the Materials and Techniques of Johannes Vermeer." Studies in the History of Art 55 (1998): 144-67. Link

Delaney, J.K., Dooley, K.A., van Loon, A. et al. “Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring”. Herit Sci 8, 4 (2020). Link

Delsaute, J-L. "The Camera Obscura and Painting in the Sixteenth and Seventeenth Centuries." Studies in the History of Art 55 (1998): 110-23. Link

De Meyer, S., Vanmeert, F., Vertongen, R. et al. “Imaging secondary reaction products at the surface of Vermeer’s Girl with the Pearl Earring by means of macroscopic X-ray powder diffraction scanning”. Herit Sci 7, 67 (2019). Link

Elkhuizen, W.S., Callewaert, T.W.J., Leonhardt, E. et al. “Comparison of three 3D scanning techniques for paintings, as applied to Vermeer’s ‘Girl with a Pearl Earring’”. Herit Sci 7, 89 (2019). Link

Gifford, M. E. "Painting Light: Recent Observations on Vermeer's Technique." Studies in the History of Art 55 (1998): 184-99. Link

Groen, K M, Van Der Werf, I D, Jan Van Den Berg, K, and Boon, J J. "Scientific Examination of Vermeer's ‘Girl with a Pearl Earring’". Studies in the History of Art 55 (1998): 168-83. Link

Kuhn, H. "A study of the pigments and grounds used by Jan Vermeer". Report and Studies in the History of Art, National Gallery, Washington, (1968): 41-107.

Levy-Van Halm, K. "Where Did Vermeer Buy His Painting Materials? Theory and Practice." Studies in the History of Art 55 (1998): 136-43. Link

Mahon, D., Centeno, S.A., Iacono, M. et al. “Johannes Vermeer’s Mistress and Maid: new discoveries cast light on changes to the composition and the discoloration of some paint passages”. Herit Sci 8, 30 (2020). Link

Miedema, H. "Johannes Vermeer's ‘Art of Painting’" Studies in the History of Art 55 (1998): 284-93. Link

Sheldon, L and Costaras, N. "Johannes Vermeer's ‘Young Woman Seated at a Virginal’”. The Burlington Magazine 148, no. 1235 (2006): 89-97. Link

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