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All that glitters is not gold: The depiction of gold-brocaded velvets in
fifteenth-and early sixteenth-century Netherlfifteenth-andish paintings
van Duijn, E.E.
Publication date
2013
Link to publication
Citation for published version (APA):
van Duijn, E. E. (2013). All that glitters is not gold: The depiction of gold-brocaded velvets in
fifteenth- and early sixteenth-century Netherlandish paintings.
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Table of contents
5 PREFACE9 ACKNOWLEDGEMENTS
13 INTRODUCTION
15 I.1 Terminology
15 I.2 On real gold-brocaded velvets 17 I.3 Methodology of the research 20 I.4 Literature
21 I.5 Sources 25 CHAPTER 1
Gold-brocaded velvets in paintings by Jan van Eyck: observations on painting technique
This article will appear in the proceedings (scheduled for 2014) of the Van Eyck Studies Symposium (Symposium XVIII for the Study of Underdrawing and Technology in Painting) held on 19-21 September 2012 in Brussels.
27 1.1 Introduction 27 1.2 The underdrawing
29 1.3 Foreshortening the pattern 30 1.4 The paint layers
32 1.5 Conclusion 37 CHAPTER 2
Gold-brocaded velvets in paintings by Geertgen tot Sint Jans: a study of Geertgen’s pain-ting technique to imitate gold-brocaded velvets and a comparison with the Raising of
Lazarus by Albert van Ouwater.
This article will appear in the forthcoming online issue of ArtMatters, International Journal for Technical
Art History, Spring 2013. 39 2.1 Introduction
39 2.2 Geertgen tot Sint Jans 39 2.2.1 The paintings
40 2.3 Painting technique: the layer build-up 40 2.3.1 The underdrawing
43 2.3.2 Painting the first layers 44 2.3.3 Painting the pattern 46 2.3.4 Painting the gold threads 49 2.4 Comparing the brocade patterns
51 2.5 What about Ouwater? Geertgen tot Sint Jans and his teacher Albert van Ouwater 53 2.5.1 Comparing Ouwater to Geertgen tot Sint Jans
54 2.5.2 Comparing Ouwater to Dirk Bouts 55 2.6 Conclusion
61 CHAPTER 3
Gold-Brocaded Velvets in Paintings by Cornelis Engebrechtsz
Co-author: Jessica Roeders
This article has been published in the online Journal of Historians of Netherlandish Art (JHNA), volume 4, issue 1 (2012).
63 3.1 Gold-brocaded velvets
64 3.2 A brief introduction to Cornelis Engebrechtsz 66 3.3 Gold-brocaded fabrics in Engebrechtsz’s paintings
68 3.3.1 The first phase of paint layer build-up: underdrawing and underlayers 70 3.3.2 The second phase of paint layer build-up: applying the pattern 71 3.3.3 The third phase of paint layer build-up: applying the highlights 73 3.4 The patterns used in Engebrechtsz’s workshop
81 CHAPTER 4
A broader perspective: painting techniques applied to imitate gold-brocaded velvets in fifteenth- and early sixteenth-century Netherlandish paintings
83 4.1 Pre-Eyckians and the imitation of gold-brocaded silk 84 4.2 The underdrawing
87 4.3 The paint layers
87 4.3.1 The layer build-up: a three-step system 91 4.3.2 The first brown paint layers
92 4.3.3 Painting the velvet pattern
95 4.3.4 T he last phase: painting the highlights 97 4.4 Workshop patterns
98 4.4.1 Drawings and textile patterns
105 4.4.2 Transferring and resizing the pattern 106 4.5 Conclusion
117 BIBLIOGRAPHY
129 SUMMARY
133 NEDERLANDSE SAMENVATTING
APPENDICES (on CD)
1 List of examined paintings
2.1 Table of the pattern designs that were used by Jan van Eyck for his gold-brocaded velvets 2.2 Table of the pattern designs that were used in Geertgen tot Sint Jans’ workshop and
by Albert van Ouwater for their gold-brocaded velvets
2.3 Table of the pattern designs that were used in Engebrechtsz’s workshop for gold-brocaded velvets, damasks and monochrome velvets
2.4 Table of the pattern designs that were used in Jacob Cornelisz’s workshop for gold-brocaded velvets and damasks
3 Reconstruction of the gold-brocaded velvet skirt of Mary Magdalene in Engebrechtsz’s
Triptych with the Lamentation of Christ (Museum de Lakenhal, Leiden)
4.1 with J. P. Filedt Kok, A. Vandivere, A. Wallert and M. Wolters, ‘Developments in the underdrawing and painting technique of the sixteenth-century Leiden School’, in:
Studying Old Master Paintings: Technology and Practice, Postprints of the National
Gallery Technical Bulletin 30th Anniversary Conference, ed. M. Spring, London, 2011, pp. 104-110.
4.2 with J. P. Filedt Kok, A. Vandivere, A. Wallert and M. Wolters, ‘De Leidse schilders aan het werk - Het schilderatelier en atelierpraktijken in Leiden, c. 1500-1530’, in: Lucas
van Leyden en de Renaissance, Exhibition Catalogue, Museum de Lakenhal Leiden,
