Spanish painting;

Translated by Lewis Spence.

Catalogue of the exhibition of Spanish old masters in support of National Gallery funds and for the benefit of the Sociedad de amigos del arte española, Oct. 1913 to Jan. 1914.

Catalogue compiled, with historical introduction, by Maurice W. Brockwell.

Stories of the Spanish artists until Goya /

Includes index.

Illustrated catalogue of the exhibition of Spanish old masters in support of National Gallery funds and for the benefit of the Sociedad de Amigos del Arte Española, Oct. 1913 to Jan. 1914.

Mode of access: Internet.

La peinture espagnole /

Includes bibliographical references (p. [8]).

Catalogue of paintings ... in the collection of the Hispanic Society of America,

Each frontispiece accompanied by guard sheet with descriptive letterpress.

Storia della pittura in Ispagna : dal suo risorgimento fino ai giorni nostri /

Mode of access: Internet.

Notice des tableaux exposés dans les galeries du Musée national du Louvre ...

Pt. 2 is 13th edition; pt. 3, 9th edition.

The history of The Spanish School of Painting; to which is appended an historical sketch of the rise and progress of the art of miniature illumination ...

Mode of access: Internet.

Modern Spanish painting; being a review of some of the chief painters and paintings of the Spanish school since the time of Goya,

Each plate accompanied by guard sheet with descriptive letter-press.

The portrait of the first poster artists of Spanish cinema: From the genre scene to the realistic portrait

The article, which is part of a more detailed piece of work, aims to highlight the use of the portrait on the film posters of the first Spanish poster artists before the Star-System was introduced in Spain. For this it is posed the evolution that occurs in the representation of the characters in the film poster from the second decade to the beginning of the thirties in the twentieth century, a historical period of profound influences of the artistic and advertising vanguards in our poster artists´ work. However, in the late twenties moving from the simple inclusion of the scene based on the picture of a film, to the chromatic and realistic representation of the star´s face. These were the years when the influence of the major North American studios began to show in Spain. Nevertheless, it highlights their technical and compositional freedom and their influence on subsequent poster artists, as many of them will integrate the portraits and settings on their posters, following the guidelines of the major studios or the independent ones. But without forgetting their own personal way of painting the film stars’ faces on their posters.

The History of Rome in Painting

There are many paths to reach Rome, immense field open to the eye through the centuries and days, where the presence of the story is haunting. All the artists came to Rome: Italians of various Italian and also French, Dutch, Flemish, Spanish, English and Americans. These painters whose works tell its long history for having lived in the glare of light forever are the Roman pantheon of arts: what are all the anonymous authors of the frescoes of ancient Rome and medieval, but Fabriano, Cimabue , Giotto, Botticelli, Raphael, Giulio Romano, Michelangelo, Caravaggio, Guido Reni, Guercino, Titian, Vasari, Velasquez, Le Nain, Poussin, Zuccari, Van Wittel, Eckersberg, Giraudet, David, Panini, Hubert Robert, Reynolds, Fuseli, Ingres, Sargent, Caffi, Vernet, Turner, Corot, Caffi, De Chirico, etc..

Catalogue of the Ehrich Galleries collection of valuable paintings by the masters of the classic Italian, Dutch, Flemish, English, Spanish and French schools, to be sold at absolute public sale ... March 24th [1905] The sale will be conducted by James P. Silo, of the Fifth avenue galleries.

Mode of access: Internet.

Romano-British wall-painting fragments: a spectroscopic analysis

Raman spectroscopic analyses of fragmented wall-painting specimens from a Romano-British villa dating from ca. 200 AD are reported. The predominant pigment is red haematite, to which carbon, chalk and sand have been added to produce colour variations, applied to a typical Roman limewash putty composition. Other pigment colours are identified as white chalk, yellow (goethite), grey (soot/chalk mixture) and violet. The latter pigment is ascribed to caput mortuum, a rare form of haematite, to which kaolinite (possibly from Cornwall) has been added, presumably in an effort to increase the adhesive properties of the pigment to the substratum. This is the first time that kaolinite has been reported in this context and could indicate the successful application of an ancient technology discovered by the Romano-British artists. Supporting evidence for the Raman data is provided by X-ray diffraction and SEM-EDAX analyses of the purple pigment.