Treatises on painting between the 1st and the 12th centuries A.D. may have been many but those preserved are found in two manuscripts from the 10th and 12th centuries: the Mappae Clavicula and Eracliu
A French collection of recipes for painting on parchment, On Making Colours, by a painter, Peter of St. Audemar, possibly of the Benedictine Abbey of St Bertin at St. Omer in northern France. St. Omer
A collection of all the historical pigments mentioned in the treatises included in the series, Colour Palettes, by century, complemented by recipes from other contemporary sources. The entries define
This Futurist opera was presented in snowy Petrograd in December 1913 to a riotous audience. The atonal music composed by Mikhail Matiushin accompanied the alogical libretto by Aleksei Kruchenykh, th
A collection of 16 essays on the artist’s painting and works for the theatre between 1910 and 1924. The essays explore the colour theories that gave rise to her abstract painting and the basic laws of
This is the first study to investigate the sources of the creative processes in the painting of Kazimir Malevich, from Neo-Primitivism to Suprematism, 1911-1920. These sources are found in 19th centur
Three texts by two Italian Renaissance painters – Leonardo da Vinci and Gian Paolo Lomazzo – and a compendium of the 53 standard pigments commonly found on artists' palettes for painting in oil on pan
The sources of pigments used in European painting are found in classical antiquity, and the over 40 pigments in use were described by Theophrastus, Vitruvius, Pliny the Elder, and Dioscorides. The pri
Collection of 30 texts, 1915-1928, & 3 facsimiles, some in first English translation, plus Nina Kogan on Cubism and Ilya Chashnik on Suprematism. Chronological sections trace Malevich’s analyses of Cu
15th century Italian painting mastered the art of painting light in the world. As Leon Battista Alberti wrote in On Painting (1435), "light has the power to vary color", hence a rich palette of pigmen
Pigments described by the English chemist, Robert Dossie, the French artists' colourman, Jean Félix Watin, and the London-based pigment maker, Constant de Massoul. 18th century European painting saw t
The French Impressionist painters discovered new means for painting light – they used a “solar palette”, the pigments matched to the colours the eyes see. They are the colours of a ray of light.This l
A facsimile edition of Kazimir Malevich, SUPREMATISM 34 Drawings, was published in 1990 by Artists Bookworks accompanied by an introduction to the drawings by Patricia Railing; it is now out-of-print.
From Italy to France to Flanders, the arts of painting in the 14th century were practised in manuscript illumination, on panel, and in fresco. Recipes for pigments appropriate to all these arts are in