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Looking Closely at Drawing Materials: Selected Bibliography

Bibliography updated 2016

General

Ambers, J., C. Higgitt, and D. Saunders. 2010. Italian Renaissance drawings: technical examination and analysis. London: Archetype Publications, in association with the British Museum.

American Institute for Conservation of Historic and Artistic Works. Matting and framing works of art and artifacts on paper (leaflet). Washington D.C: American Institute for Conservation of Historic and Artistic Works (FAIC).

Arnold, M. 1986. Fixatives: An examination of their role with relation to charcoal drawings. Paper presented at the Institute of Paper Conservation symposium, Oxford, England

Arnold, S. 1994. The technology of poster paint. Modern Works, Modern Problems?, Conference Papers.148-149.

Ash, N., S. Homolka, S. Lussier, R. Pollak, E. Spaulding, and R. Wolcott. 2014. Descriptive terminology for works of art on paper: guidelines for the accurate and consistent description of the materials and techniques of drawings, prints, and collages. Philadelphia Museum of Art.

Burandt, J. 1994. An investigation toward the identification of traditional drawing inks. The Book and Paper Group Annual. 9-16.

Carvalho, D. 1904. Forty centuries of ink or a chronological narrative concerning ink and its backgrounds. New York: Burt Franklin.

Boston Museum of Fine Art. CAMEO: Conservation and Art Materials Encyclopedia Online. htp://cameo.mfa.org/wiki/Main_Page

Burns, T. 1994. Chalk or pastel? The use of coloured media in early drawings. The Paper Conservator. 49-56.

Burns, T. 2007. The invention of pastel painting. London: Archetype.

Burns, T. 2012. Luminous trace: drawing and writing in metalpoint. London: Archetype.

Cohn, M. and R. Rosenfeld 1977. Wash and Gouache: A Study of the Development of the Materials of Watercolor. Cambridge, Mass.: Fogg Art Museum and Foundation of the American Institute for Conservation of Artistic and Historic Works.

Cohn, M. B. 2002. Cause and effect in the historical development of watercolor. The Broad Spectrum : Studies in the Materials, Techniques, and Conservation of Color on Paper, ed. H. K. Stratis and B. Salvesen. London: Archetype Publications. 62-68.

Connors-Rowe, S. A. and H. R. Morris. 2005. Evaluation of Appearance and Fading of Daylight Fluorescent Water Colors. Journal of the American Institute for Conservation, 75-94.

Dahm, K. 2004. The stylus revealed: A metalpoint identification study of fifteenth-and sixteenth-century Italian drawings in the Metropolitan Museum of Art. The Paper Conservator 75-86.

Ellis, M. H. 2003. Watercolors today - Dr. Ph. Martin's synchromatic transparent watercolors, magic markers and day-glo colors. Symposium Gekleurd of Verkleurd: VAR, 11 en 12 oktober, 2001, Koninklijke Bibliotheek.Den Hague, Netherlands.

Ellis, M. H., C. W. McGlinchey, and E. Chao. 2002. Daylight fluorescent colors as artistic media. The Broad Spectrum : Studies in the Materials, Techniques, and Conservation of Color on Paper, ed. H. K. Stratis and B. Salvesen. London: Archetype Publications. 160–66.

Ellis, M. H. 1987. The care of prints and drawings. Nashville, Tennessee: American Association for State and Local History Press.

Ellis, M. H. 1994. Drawings in fibre-tipped pen: New conservation challenges. Modern works, modern problems? London: The Institute of Paper Conservation. 114–121.

Ellis, M. H. 1998. The history, use, and characteristics of wax-based drawing media. The Paper Conservator. 48-55.

Ellis, M. H. 1996.The Shifting Function of Artists' Fixatives. Journal of the American Institute for Conservation of Historic and Artistic Works. 239-254.

Gettens, R. J. 2012. Painting Materials: a Short Encyclopedia. Dover Publications.

Goldman, P. 2006. Looking at prints, drawings and watercolours: a guide to technical terms. London: British Museum Press.

Gottsegen, M. D. 1993. The painter's handbook. New York: Watson-Guptill Publications.

James, C. 2010. Visual Identification and Analysis of Old Master Drawing Techniques. Firenze: Olschki.

James, C. 2002. The history and use of colored inks. The Broad Spectrum Studies in the Materials, Techniques, and Conservation of Color on Paper, ed. H K. Stratis and B. Salvesen. 108-115.

James, C., C. Corrigan, M. C. Enshaian, and M. R. Greca. 1997 Old Master Prints and Drawings: A Guide to Preservation and Conservation, ed. and trans. M. B. Cohn. Amsterdam: Amsterdam University Press.

Jirat-Wasiutynski, T. 1990. Tonal drawing and the use of charcoal in nineteenth-century France. Drawing. 121–24.

Jirat-Wasiutynski, V. and T.Jirat-Wasiutynski. 1980. Uses of charcoal in drawings. Arts Magazine. 128–35.

Lambert, S. 1984. Reading drawings, an introduction to looking at drawings. New York: Pantheon Books.

Mayhew, T. D., M. Ellis, and S. Seraphin. 2012. Steatite and calcite natural white chalks in traditional old master drawings. Journal of the American Institute for Conservation.175-198.

Mayhew, T. D., M. Ellis, and S. Seraphin. 2014. Natural yellow chalk in traditional old master drawings. Journal of the American Institute for Conservation.1-18.

Mayhew, T. D., S. Hernandez, P. L. Anderson, and S. Seraphin. 2014. Natural red chalk in traditional old master drawings. Journal of the American Institute for Conservation. 89-115.

Meder, J., and W. Ames. 1978. The mastery of drawing. New York, N.Y.: Abaris Books.

Mitchell, C. A. and T. C. Hepworth 1904. Inks: their composition and manufacture. London: Charles Griffin and Company, Ltd.

Nickell, J. 2003. Pen, ink, and evidence: a study of writing and writing materials for the penman, collector, and document detective. New Castle, Del: Oak Knoll Press.

Oxford Art Online.

Papermaking: art and craft - an account derived from the exhibition presented in the Library of Congress, Washington, D.C., and opened on April 21, 1968. Washington DC: Library of Congress.

Petroski, Henry.1990. The Pencil: a History of Design and Circumstance. New York: Knopf.

Saywell, E. 1998. Behind the line: the materials and techniques of Old Master Drawings. Harvard University Art Bulletin. 5-39.

Schenck, K. 2015. Drawings under scrutiny: the materials and techniques of metalpoint. Drawing in Silver and Gold, S.Sell et. al.

Seymour, P. 2003. The artist’s handbook. London: Arcturus Publishing Ltd.

Shelley, M. 1989. American pastels of the late 19th and early 20th centuries: materials and techniques. American pastels in the Metropolitan Museum of Art, ed. D. Bolger. New York: Metropolitan Museum of Art. 33–45.

Shelley, M. 2002. The craft of American drawing: Early eighteenth to late nineteenth century. A catalogue of works by artists born before 1835. Metropolitan Museum of Art. 28-78.

Stratis, H. K. and B. Salvesen. 2002. The Broad Spectrum : Studies in the Materials, Techniques, and Conservation of Color on Paper London: Archetype.

Watrous, J. 1967. The craft of old-master drawings. Madison, Wisc.: The University of Wisconsin Press.

Weeks, Ursula. 1999. Techniques of drawing. Oxford: Ashmolean Museum.

Wehlte, K.1975. The materials of painting, English ed. New York: Van Nostrand Reinhold.

Artist Studies

Ash, N., and S. Homolka. 2008. James Castle: a creative obsession. James Castle: a retrospective, A. Percy et al., Philadelphia Museum of Art.

Ash, N. and E. Spaulding. 2014. Richard Pousette-Dart up close: materials and techniques. Full circle: works on paper by Richard Pousette-Dart, I. H. Shoemaker, Philadelphia Museum of Art.

Buchberg, K. D., N. Cullinan, J. Hauptman, et. al. 2014. Henri Matisse: the cut-outs.

Buchberg, K. D. and L. Neufeld. 2016. Indelible ink: Degas’s methods and materials. Degas: a strange new beauty, J. Hauptman. New York: Museum of Modern Art. 46-54.

Buchberg, K. D. 2008. Seurat: materials and techniques. Georges Seurat: the drawings, J. Hauptman. New York: Museum of Modern Art. 30-41.

Burns, T. 1992. Rosalba Carriera and the early history of pastel painting. Manchester Conference Papers. Leigh / The Institute of Paper Conservation 35-40.

Chandler, D. 1986. Edgar Degas in the collection of the Art Institute of Chicago: examination of selected pastels. AIC Book and Paper Group Annual 5:74-82.

Cohn, M. B. 1970. A note on media and methods. Tiepolo: A bicentenary exhibition. Cambridge: Fogg Art Museum. 211-21.

Dahm, K. 2011. Playing around with paint. John Marin's watercolours: a medium for modernism. M. Tedeschi et. al. Chicago: Art Institute of Chicago.

Dahm, K. 2008. Intention and alteration: Winslow Homer’s watercolor palette. Watercolors by Winslow Homer: the color of light, M. Tedeschi et. al. The Art Institute of Chicago. 206-215.

Ellis, M. H. 2005. Materials, tools, and 'technics'. No limits, just edges: Jackson Pollock paintings on paper, S. Davidson et. al. New York: Solomon R. Guggenheim Foundation.

Fletcher S. and P. DeSantis. 1989. Degas: the search for his technique continues. The Burlington Magazine. 256-265.

Maheux, A. 1988. Degas pastels. Ottawa: National Gallery of Art.

Manick, A. and A. Owen, 2012. A. Bringing back something fine. John Singer Sargent watercolors, S. W. Reed et. al. Boston, Mass: MFA Publications. exhibition catalogue, Brooklyn Museum and MFA Boston. 205-235.

Mustalish, R. 2015/6. Arthur Dove and the Stieglitz circle: Modernism through materials. PhD dissertation. London: The Courtauld Institute of Art, University of London.

Perkinson, R. and A. Manick. 1993. Notes on media and papers. Awash in color: Homer, Sargent, and the great American watercolor. S. Reed et. al. Boston: Museum of Fine Arts in association with Bulfinch Press, Little, Brown.

Peterson, P. M. 1986. A technical examination of Rembrandt's drawing inks. Unpublished typescript. Cambridge: Center for Conservation and Technical Studies, Harvard University Art Museums.

Schenck, K. 2016. Defined by Light. Degas: A Strange New Beauty, J. Hauptman. New York: Museum of Modern Art. 62-82.

Shelley, M. 1983. Rembrandt's inks. AIC Book and Paper Group Annual. 93-94.

Shelley, M. 2000. Materials and techniques. American drawings and watercolors in the Metropolitan Museum of Art: John Singer Sargent, S L. Herdrich, et. al. New York: Metropolitan Museum.17-34.

Shelley, M. 2002. The craft of American drawing: early eighteenth to late nineteenth century. American Drawings and Watercolors in The Metropolitan Museum of Art. Vol. 1, A catalogue of works by artists born before 1835, K.J. Avery et al. Metropolitan Museum. 29-78.

Snyder, R. F. 1993. Complexity in creation: a detailed look at the watercolors for The Birds of America. The Book and Paper Group Annual, 50-55.

Steele, E, S. Albro, S. Homolka, and C. Bernicky. 2014. Materials and techniques. Angels, demons and savages: Pollock, Ossorio, Dubuffet, K. Ottmann et. al.129-142.

Stratis, H. K. 1995. A technical investigation of Odilon Redon's pastels noirs. The Book and Paper Group Annual. 87-103.

Stratis, H. 1994. Beneath the surface: Redon's methods and materials. Odilon Redon, prince of dreams, ed. D. W. Druick. Chicago: Art Institute of Chicago. 353–77.

Walsh, J. 2000. The language of O’Keefe’s materials: charcoal, watercolor, pastel. O'Keeffe on paper. R. Fine et al. Washington, D.C., National Gallery of Art. 57-79.

Walsh, J. 1995. Innovation in Homer’s late watercolors. Winslow Homer, N. Cikovsky et. al. Washington, National Gallery of Art. 283-300.

Walsh, J. 2008. More skillful, more refined, more delicate: England. Watercolors by Winslow Homer: the color of light, M. Tedeschi et. al. The Art Institute of Chicago. 76-106.

Walsh, J. 2008. Winslow Homer and the color theories of Michel-Eugene Chevreul. Watercolors by Winslow Homer: the color of light, M. Tedeschi et. al. The Art Institute of Chicago. 199-205.

Zieske, F. 1995. An investigation of Paul Cézanne's watercolors: with emphasis on emerald green. The Book and Paper Group Annual. 105-115.

Zieske, F. 2002. Technical observations. Cézanne in focus: watercolors from the Henry and Rose Pearlman Collection, L Giles et. al. Princeton University Art Museum. 26-29.

Zieske, F. 2002. Paul Cézanne's watercolors: his choice of pigments and papers. The Broad Spectrum : Studies in the Materials, Techniques, and Conservation of Color on Paper, ed. H K. Stratis and B. Salvesen. 89-100.

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