How to List the Materials in a Work of Art
Materials and Techniques
DEFINITION
The substances or materials used in the creation of a piece of work of art, every bit well equally any production or manufacturing techniques, processes, or methods incorporated in its fabrication. This information includes a description of both the materials used to create the piece of work and the way in which they were put together.
SUBCATEGORIES
Clarification EXTENTPROCESSES OR TECHNIQUES
NAMEIMPLEMENTMATERIALSROLENameCOLORSOURCEMARKS
DATEACTIONSREMARKSCITATIONSDiscussion
This category identifies the materials of which a work is composed; where applicable, the "role" of a material (which is a repeatable subcategory) may be distinguished equally medium (e.thousand., oil paint, watercolor, graphite) or as back up (e.1000., canvas, oak console, laid paper).
Source
An object or work's physical composition is described afterwards careful examination. Conservators may exist consulted to identify specific pigments. Techniques oftentimes considered in the realm of scientific exam, such every bit X-radiography, may also be used to determine the relationship of ane layer of pigment to another, or the presence or absence of an underdrawing.
USES
"Support" is ofttimes used as a traditional fashion of organizing materials, especially in museum collections.
Dissimilar media may be used at specific stages in the process of creating a work of art. In studying the creative procedure, a researcher may wish to examine the use of item combinations of materials in the evolution of some works. For instance, black chalk on blue laid newspaper was frequently used for portrait studies.
New materials often influence design, such as the employ of bent plywood or tubular steel in early on twentieth-century furniture.
The question of "hand" is pregnant in the attempt to determine an attribution for a work of art. Because an artist will handle materials in different ways, and considering different modes of expression are more appropriate to one technique than another (consider the expressive character of a brush-and-ink cartoon in relation to a pen-and-ink cartoon), grouping works past these characteristics is useful for purposes of comparing.
RELATIONSHIPS
The ways by which a work was assembled or created, including a detailed discussion of the relationship of ane paint or material to another, are recorded in FACTURE.
Detailed scientific examination of the work tin be described in CONDITION/Exam HISTORY. Physical changes that took place after the object or work was created or manufactured should be recorded nether CONDITION/Test 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 Clarification.
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 instance, to locate Venetian works on blue 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 support of the work of art.
EXAMPLES
oil on canvas [Figure 17]
egg-tempera paint with tooled aureate-leaf halos on console [Figure 28]
oil or oil and tempera on panel transferred to canvas [Figure eight]
distemper (thin washes of pigment in animate being glue) on linen [Figure 24]
pen and brown ink and black chalk on paper [Figure 30]
silverpoint, with white heightening, on silvery-gray prepared paper
red and black chalk and 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 grey wove newspaper
aquatint over an etched outline
carving, engraving, and drypoint on laid paper
gelatin silver print [Figure 12]
bronze
iron, artificially oxidized
Carrara marble on granite base
engraved and polished nighttime dark-green agate [Figure 29]
marble with polychromy [Figure 11]
Volkswagen bus with xx sledges, each carrying felt, fatty, and a flashlight [1]
gold plate over argent, with semiprecious stones
leaded and stained glass
wool and cotton
veneered with mahogany, with gilt bronze mounts [Figure 13]
aureate maple
painted and glazed earthenware
soft-paste porcelain, colored enamel decoration, gilding [Effigy i]
boulle marquetry in brass and tortoise beat out
"The stage was in the cellar, and all the lights in the shop were out; groans rose from a trap-door. Another joker subconscious behind a wardrobe insulted the persons nowadays... [T]he Dadas, without ties and wearing white gloves, passed back and forth... André Breton chewed up matches, Ribemont-Dessaignes kept screaming, 'It's raining on a skull,' Aragon caterwauled. Philipe Soupault played hide-and-seek with Tzara, while Benjamin Péret and Charchoune shook hands every other minute. On the doorstep, Jacques Rigaut counted the automobiles and the pearls of the lady visitors..." [2]
Give-and-take
This subcategory supplies a description of the technique, media, and support of the object insofar as they have to practice with the creation of the work of fine art. It clarifies the relationship between the media and the techniques used to utilise them. Technique is the instrument or method used in the application of media, including whatever reproductive method. Medium is the material practical to the support. Support describes the characteristics of the surface upon which media accept been applied. For example, for a drawing described pen and brown ink and black chalk on paper [Figure 30], pen is the instrument; ink and blackness chalk are the media; and newspaper is the support.
If more than one technique or medium was used, it is useful to listing them in the sequence of their application, if known (due east.g., graphite, pen and black ink, with grey launder) or the order of their importance (e.g., red and black chalk and brown and reddish wash, squared in black chalk [Effigy 27]).
ACCESS
In guild to take admission to the information in this description, the other sets of subcategories of MATERIALS AND TECHNIQUES should echo as necessary for each technique, medium, or support described. These subcategories let for the indexing of materials, in relation to their roles, colors, the techniques used to apply them, and the sources used to place them.
Colors, such as ruby, blue, or stake green, are a distinguishing feature of materials or media. Since color can be associated with both a medium and a back up, as in the case of blue newspaper and red ink, a link must be maintained between these terms to maintain this significant.
Materials and Techniques - Extent
DEFINITION
The specific part of a work equanimous of a sure material manufactured or created using a particular technique.
EXAMPLES
overallsurface
statue
baselid
backing board
lower panel
glaze
Give-and-take
Works of art can exist made upward of many unlike parts, each equanimous of different materials, or fabricated 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 (especially Materials bureaucracy 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 Alphabetize of Jewish Fine art, ISO 5127-three: Iconic Documents, ISO 5127-eleven: Acoustic Documents, LC Descriptive Terms for Graphic Materials, Moving Image Materials, Revised Nomenclature, Reyniès' Le Mobilier Domestique, and Tozzer Library Headings.
Materials and Techniques - Processes or Techniques
DEFINITION
The ways, method, procedure, or technique by which a textile was used in the cosmos of a piece of work.
Materials and Techniques - Processes or Techniques - Proper noun
DEFINITION
The name of a procedure or technique used in the creation of a work.
EXAMPLES
drawing [Figure 27]painting [Figure 6 and Figure 28]
sculpting [Figure11]
stumping
pricking
carving
intaglio [Figure 29]
engraving
etching
gilding
weaving
chasing
tooling
aquatint
burnishing
coating
overpainting
montage
inlaid
collage
red figure [Figure 16]
finger painting
underdrawing
drawing à deux crayons
stipple engraving
stumping
stencil
duplicating
impasto
gelatin-silverish print [Figure 12]
aggregation
chromogenic color process
DISCUSSION
Materials can exist fashioned, formed, or applied to an object or piece of work in many different ways, with greatly varying results.
Identification of process or techniques, printmaking or photography, is a skill that requires connoisseurship. The procedure by which an object, work, or image was created may not be known or may be nether dispute.
USES
Identifying the technique by which a material was applied or shaped describes the object or work more clearly. Information technology also makes it possible to grouping other similar objects or works on the basis of technique.
TERMINOLOGY/FORMAT
The employ of a controlled vocabulary is recommended, such as the AAT (peculiarly Processes and Techniques hierarchy), ACRL/RBMS Bounden Terms, or the Index of Jewish Art.
Materials and Techniques - Processes or Techniques - Implement
DEFINITION
The proper noun 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
brush
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 piece of work using a particular technique makes it possible to distinguish between otherwise like ways of creating a work of fine art.
TERMINOLOGY/FORMAT
The use of a controlled vocabulary is recommended, such as the AAT (especially Tools and Equipment hierarchy), and Revised Nomenclature.
Materials and Techniques - Materials
DEFINITION
An identification of the materials used to create the piece of work of art, along with an indication of where they were employed.
DISCUSSION
An identification of the materials used by an artist is disquisitional to an agreement of the work and how information technology was created. The information recorded nigh materials used in a piece of work of art is complex. For example, information technology is important to know not only the name of the material, but also how the material was used in the cosmos of the work (MATERIALS - ROLE), what color it is, where the material comes from, and what identifying marks can be constitute on the cloth (MATERIALS - MARKS). Each of these pieces of data provides an additional clue to understanding the process of creating the piece of work of art.
The identification of an creative person's materials tin can exist very straightforward. In other cases, it involves a caste of conjecture and opinion. A technical analysis may exist necessary in club to identify a detail material.
Materials and Techniques - Materials - Role
DEFINITION
The role that a material plays in the composition of the piece of work.
EXAMPLES
supportmedium
Word
It is particularly important to distinguish between medium and support. Support is the main fabric of which the object is made (east.g., marble, woods, bronze, canvass, or newspaper). There may be principal and secondary supports (as with a sheet of paper mounted to cardboard). If materials are practical over the support (e.yard., oil paint or chalk), these are the media.
Materials and Techniques - Materials - Name
DEFINITION
The blazon of textile of which a work is composed.
EXAMPLES
woodsglass
marble
poplar
charcoal
vernis Martin
laid paper
mother of pearl
egg tempera
pigment
oil paint
gilded
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 detail with which a textile is described--for instance, whether poplar or wood is used to describe a panel back up--is divers past institutional policy. The identification of materials is sometimes a matter of dispute which may require a technical examination. Uncertainty must be accommodated.
TERMINOLOGY/FORMAT
The utilize of a controlled vocabulary is recommended, such as the AAT (especially Materials bureaucracy), 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
vivid yellowishcerulean blue
scarlet
lite green
black
white
potent yellowish chocolate-brown
pale purple
Give-and-take
This subcategory specifies the color of a material that is used in the creation of the work.
The identification of color is subjective, and the vocabulary used to describe color may be vague. Comparison a work to a standard color chart is 1 manner to achieve a level of consistency in this information.
TERMINOLOGY/FORMAT
The utilise of a controlled vocabulary is recommended, such equally the AAT Color hierarchy.
Materials and Techniques - Materials - Source
DEFINITION
The geographic identify from which the materials used to create the work of fine art originated.
EXAMPLES
SiberiaChina
Carrara, Tuscany, Italy
probably North Africa
DISCUSSION
The sources of materials tin exist found in specialized texts that deal with the commerce and history of materials. Uncertainty should be accomodated.
TERMINOLOGY/FORMAT
The employ of an authority of geographic places is recommended; sources of vocabulary include TGN, Canadiana Authorities, and LC Name Authorities. Hierarchical relationships between places should exist maintained.
Materials and Techniques - Materials - Marks
DEFINITION
A description and identification of marks inherent in or applied to the cloth before it was fashioned into the work of fine art, including watermarks and stationers' stamps or marks.
EXAMPLES
foolscapdog with a coat of arms in a circumvolve
ophidian with a ring
letters MJ in orb with cantankerous
fleur de lys above a banded shield; countermark: STACE [3]
Florentine lily in double circle with F below and CAC higher up
crescents in a circle (maybe arms of Piccolomini)
indistinct (probably walking man) [iv]
star in circumvolve with cantankerous (like Briquet 6088)
watermark: none visible through lining [five]
Discussion
This subcategory should incorporate 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 close examination of the object. Descriptions may also be drawn from published catalogs or unpublished conservators' reports.
ACCESS
In guild to have access to the information in the descriptions illustrated in the above examples, an dominance of marks is recommended. A name and the dates discussed in the following subcategory could be stored in such an authority. The use of consistent syntax is recommended. Controlled vocabulary should be used to indicate the type of motif or work. See for example, the AAT (peculiarly Data Forms bureaucracy).
Materials and Techniques - Materials - Marks - Date
DEFINITION
The appointment or range of dates at which a item marking in a material was in widespread use.
EXAMPLES
1646ca. 1740 - ca. 1752
before 1574
DISCUSSION
The appointment of the mark institute on the work assists in providing a date for the piece of work itself, and in authenticating information technology. The information in this subcategory may be found in the standard sources that catalog marks on works, or assigned on the footing of specialized knowledge.
TERMINOLOGY/FORMAT
Dates tin can be recorded in 2 ways: every bit text (illustrated in the above examples), and as two integers indicating the outset of a appointment span and the end of a date span (dates BCE can be stored as negative values). Rigidly controlled format is required to allow retrieval. The use of date guidelines is recommended, such the AAT Engagement Guidelines or ISO 8601: Dates & Times.
Materials and Techniques - Deportment
DEFINITION
An identification and clarification of any actions to exist performed during the execution of the piece of work of fine art.
EXAMPLES
dancerecitation
painting
standing
walking
clapping
watching
screaming
growing
melting
sleeping
pouring
rotting
laughing
Give-and-take
This subcategory specifies any actions that are incorporated into the work of fine art, linking them to the materials or techniques used in association with them.
The data in this subcategory may be determined on the basis of the description of the materials and techniques of the piece of work. When a work is not well documented, all the actions that were incorporated into it may non be known. Doubtfulness must be accommodated.
TERMINOLOGY/FORMAT
The utilize of controlled vocabulary is recommended, such every bit the AAT Activities facet, Garnier'southward 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 material or technique.
_________
ENDNOTES
1 Joseph Beuys, The Pack, 1969 (Drove Herbig, Deutschland), in Robert Hughes, The Shock of the New: Fine art and the Century of Change (London: British Broadcasting Corporation, 1980), p. 383.
2 Maurice Nadeau, The History of Surrealism (New York, 1967), pp. 62-63; Edward Lucie-Smith, Art Today (Oxford: Phaidon, 1977), p. 392.
3 Canadian Centre for Compages, "Watermark," in Collections Documentation Guide, (Montreal: 1993).
4 Canadian Center for Architecture, "Watermark," in Collections Documentation Guide, (Montreal: 1993).
5 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. 10, 16.
Source: http://besser.tsoa.nyu.edu/impact/f95/Cdwa/MATERIAL.HTML
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