Art conservator for fifty years. Specialist in fourteenth century Italian painting techniques, and Ancient Roman painting techniques. Graduate of NYU's Conservation Center. Author of three dozen articles on various aspects of painting techniques
More than 5000 rock structure sites are found in northeastern United States, but their cultural a... more More than 5000 rock structure sites are found in northeastern United States, but their cultural attribution has long been debated. Some argue than many are prehistoric in origin, while others maintain they all date to colonial times. Few have been dated, and of those that have, the association of the dated material and the rocks can be challenged. Here, we provide luminescence analysis on the rocks themselves at a large site in western Pennsylvania. Our results suggest an age coeval with the Adena culture of the Ohio Valley.
The article discusses the origin of reflective halo tooling in Christian altar and panel painting... more The article discusses the origin of reflective halo tooling in Christian altar and panel paintings in Siena, Italy in the 14th century on the example of paintings by Italian artist Simone Martini. The author discusses techniques of applying gold leafs on the halos, its light reflection, and other uses of gold in Christian decoration. Other topics mentioned in this article include ornamentation and decorations to the halos themselves titled pastiglia, the technique of clustering the punchmarks in the halo, so it the reflection would be brighter, and the Sienese artist Ambrogio Lorenzetti.
Two panel paintings attributed to Luca di Tomme in the Los Angeles County Museum of Art, one fr... more Two panel paintings attributed to Luca di Tomme in the Los Angeles County Museum of Art, one from his early period and the other late, were examined to determine their materials and methods of construction.
A technical examination of Ambrogio Lorenzetti's 1344 Annunciation revealed that the second pair ... more A technical examination of Ambrogio Lorenzetti's 1344 Annunciation revealed that the second pair of wings on the Archangel were original and not added later.
Pieces of paper were attached to the fresco for the book St. Jerome is writing, and for the scrol... more Pieces of paper were attached to the fresco for the book St. Jerome is writing, and for the scroll held by the Christ Child. Since the fresco is dated to 1315, the addition of paper represents the earliest use of paper in early Sienese painting.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears... more Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears... more Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. Abstract-Three methods of modelling the Virgin's blue mantle in early Italian painting are discussed. The first is modelling in three values, mentioned by Cennino Cennini in Chapter CXLV of his treatise; the second is the two-value system, noted in Cennino's Chapter CXLVI; and the third is a schematic two-value method of indicating light and shade that was not mentioned by Cennino, but which appears in four late fourteenth century Sienese paintings. The author suggests that the latter technique originated in Siena and was a modification of earlier methods of depicting folds, such as are found on late thirteenth century painting.
More than 5000 rock structure sites are found in northeastern United States, but their cultural a... more More than 5000 rock structure sites are found in northeastern United States, but their cultural attribution has long been debated. Some argue than many are prehistoric in origin, while others maintain they all date to colonial times. Few have been dated, and of those that have, the association of the dated material and the rocks can be challenged. Here, we provide luminescence analysis on the rocks themselves at a large site in western Pennsylvania. Our results suggest an age coeval with the Adena culture of the Ohio Valley.
The article discusses the origin of reflective halo tooling in Christian altar and panel painting... more The article discusses the origin of reflective halo tooling in Christian altar and panel paintings in Siena, Italy in the 14th century on the example of paintings by Italian artist Simone Martini. The author discusses techniques of applying gold leafs on the halos, its light reflection, and other uses of gold in Christian decoration. Other topics mentioned in this article include ornamentation and decorations to the halos themselves titled pastiglia, the technique of clustering the punchmarks in the halo, so it the reflection would be brighter, and the Sienese artist Ambrogio Lorenzetti.
Two panel paintings attributed to Luca di Tomme in the Los Angeles County Museum of Art, one fr... more Two panel paintings attributed to Luca di Tomme in the Los Angeles County Museum of Art, one from his early period and the other late, were examined to determine their materials and methods of construction.
A technical examination of Ambrogio Lorenzetti's 1344 Annunciation revealed that the second pair ... more A technical examination of Ambrogio Lorenzetti's 1344 Annunciation revealed that the second pair of wings on the Archangel were original and not added later.
Pieces of paper were attached to the fresco for the book St. Jerome is writing, and for the scrol... more Pieces of paper were attached to the fresco for the book St. Jerome is writing, and for the scroll held by the Christ Child. Since the fresco is dated to 1315, the addition of paper represents the earliest use of paper in early Sienese painting.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears... more Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears... more Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. Abstract-Three methods of modelling the Virgin's blue mantle in early Italian painting are discussed. The first is modelling in three values, mentioned by Cennino Cennini in Chapter CXLV of his treatise; the second is the two-value system, noted in Cennino's Chapter CXLVI; and the third is a schematic two-value method of indicating light and shade that was not mentioned by Cennino, but which appears in four late fourteenth century Sienese paintings. The author suggests that the latter technique originated in Siena and was a modification of earlier methods of depicting folds, such as are found on late thirteenth century painting.
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Papers by Norman E Muller