Joyce Stoner | Winterthur Program at the University of Delaware (original) (raw)
Papers by Joyce Stoner
Journal of the American Institute of Conservation, 1990
The 19th-century American artist Washington Allston use multiple glaze layers, megilp, and asphal... more The 19th-century American artist Washington Allston use multiple glaze layers, megilp, and asphaltum, in addition to final glaze layers he called "Titian's dirt." These techniques could cause problems during later cleanings. Allston himself disclaimed authorship of one of his earlier paintings after it was cleaned by a restorer. His painting The Spanish Maid, his poetry, his palette, and his color theories are also considered
In addition to accumulated layers of grime, coatings, and materials from past restoration treatme... more In addition to accumulated layers of grime, coatings, and materials from past restoration treatments (discussed in Chapter 31), paintings may also have been intentionally altered after their original creation. Paintings have been cut down to fit through doorways or enlarged to fit frames; styles of hair and clothing may have been updated; medals or wreaths of honour might have been added, and so forth. If there has been a substantial interval between the original painting process and any later additions the changes may be identified by:
American Philosophical Society, 2011
A NDREW WYETH enjoyed undermining the stuffi ness of formal occasions. At the White House in 2007... more A NDREW WYETH enjoyed undermining the stuffi ness of formal occasions. At the White House in 2007, when he received the third of his trifecta of national art medals, he hugged President George W. Bush, clapped him on the back, laughed, and said, "Mr. President, we have something in common: the critics don't like either one of us!" In 2002 at Wheaton College in Massachusetts, upon receiving the twenty-second of his twenty-three honorary degrees, Wyeth went up to the podium and said, "I'm speechless," and demonstrated by promptly sitting down again. In the 1970s, wearing only socks, he and his niece "streaked" through the room during a formal party. He painted profoundly serious paintings juxtaposing mortality with the v itality of life, but would have been disappointed with an overly solemn eulogy. Andy (as he had us all address him) was the last of fi ve children born in Chadds Ford, Pennsylvania, to illustrator N. C. Wyeth, a largerthan-life father who immersed his brood in his passions for art, music, history, and nature. N. C. devoted a signifi cant proportion of his adult life to their upbringing, arranging formal studio art classes, costumed and play-acted holidays, adventure games, and regular family outings to tune the imagination. Whenever I read or heard about N. C. Wyeth's all-out parenting, I felt totally inadequate as a mother. Three of his fi ve children became professional artists, and the other two excelled in music or patents for the DuPont Company. Worrying over Andy's frail health, N. C. had taken him out of school to be tutored at home when he was only six. Andy loved to tell the story of receiving an honorary doctorate from Harvard in 1955, being asked by the university president what college he had attended, and surprising him with "Oh, I left school after the fi rst grade!" However, like many autodidacts, Andy was an avid reader, especially of biographies, and had surprisingly broad knowledge of history and current events. Once when I mentioned during the cocktail hour that I was treating a painting of Major John André, Andy gave a complete and accurate impromptu lecture on André, Benedict Arnold, and George Washington. At the age of twenty, Andy had a one-man show of his watercolors at the Macbeth Gallery in New York City and worried about how the works would fare during the Depression. However, by the end of the second day all twenty-three paintings had sold. He was, of course, ecstatic, but his father was now jealous of his protégé, writing to Andy's sister Henriette, "What magical power that boy has! I am at once stimulated beyond words to new, purer effort, and plunged into black despair." Andy loved this overpowering father, but also needed to escape his infl uence on occasion; he developed early his ability to slip away mysteriously and often referred to himself as the "damned elusive [Scarlet]
The 19th-century American artist Washington Allston used multiple glaze layers, megilp and asphal... more The 19th-century American artist Washington Allston used multiple glaze layers, megilp and asphaltum, and final tonings employing what the artist called 'Titian's dirt." These techniques could cause problems during later cleanings. Allston himself disclaimed authorship of one of his earlier paintings after it was cleaned. His painting The Spanish Maid, his poetry, his palette, and his color theories are also considered, primarily through study of contemporary documents and visual impact. THERE ARE at least three reasons paintings by the American artist Washington Allston (1779-1843) should be approached even more circumspectly than usual by a painting conservator: his multiple soluble glazings, his documented penchant for the use of megilp and asphaltum, and his final tonings using what he called 'Titian's dirt." Allston is not as well known in today's art world as his 19th-century admirers would have predicted. Perhaps he was too eclectic and chameleonlike in his ability to pick up and translate different styles as he attempted to bring reflections of European masterworks back to Boston. Allston had phases as a painter of precise genre scenes, a history painter, a follower of Poussin with Italian Landscape (1805, Addison Gallery), and a follower of Michelangelo with Urfel in the Sun (1817, Boston University), and was known for his glazes from midcareer on. This article will focus on historical sources and visual examination of the small, late pictures by the older Allston, a poet and philosopher in his 50s. In these misty, melancholy, visionary images Allston seems at last to be less a mimic of other artists' styles than a synthesizer of his own dreams in both words and glazes. HAZE AND MISTY VIS ALLSTON'S The Spanish Maid like several of his other works, is both a painting (figure 1) and a poem (appendix 1), and the two must be considered in tandem. H.W.L. Dana (1943, 49) noted that the conception of the poem and the picture had been simultaneous in Allston's mind. In Allston's poem, Inez is sitting on an isolated grassy knoll, waiting for her lover Isidor, who has been gone for five months. She is suspended between dreams of his valiant fall and a longing for his safe return. In the painting, there is deep recession of space, although the actual landscape perspective is a bit ambiguous. The entry in the Metropolitan Museum of Art catalog (in press) reads: 'Through an extraordinary blend of blue, red, and green, the landscape is now a confusing blur, and one has trouble imagining its original appearance." The "blur" was probably quite intentional as the poem
Journal of the American Institute for Conservation, 1990
The 19th-century American artist Washington Allston used multiple glaze layers, megilp and asphal... more The 19th-century American artist Washington Allston used multiple glaze layers, megilp and asphaltum, and final tonings employing what the artist called" Titian's dirt." These techniques could cause problems during later cleanings. Allston himself disclaimed authorship of one ...
Preprints of the 12th Triennal Meeting of the ICOM …, 1999
... Author: Stoner, Joyce Hill Title Article/Chapter: "Collaborations with living artists: t... more ... Author: Stoner, Joyce Hill Title Article/Chapter: "Collaborations with living artists: the Wyeths (aka the Pennsylvania Bruegels)
The author has interviewed and worked on treatments of paintings by artists Andrew and Jamie Wyeth. Adventures in collaborations with living artists are discussed. Conservation concerns includes efflorescence (stearic and palmitic acids) from egg tempera paint, surface gloss preferences, and the artists' localized use of varnishes.
Volume 25, Number 3 Oct 2001. Conservation of Our Careers. A talk given by Joyce Hill Stoner at A... more Volume 25, Number 3 Oct 2001. Conservation of Our Careers. A talk given by Joyce Hill Stoner at AIC Dallas, June 1, 2001. ... There are two admittedly happy conservators I have always admired for their serenity in the face of chaoswho meditate. I'll return to that concept later. ...
Studies in Conservation, 2004
Hubert von Sonnenburg was considered one of the world's leading paintings conservators and schola... more Hubert von Sonnenburg was considered one of the world's leading paintings conservators and scholars of technical art history. He upheld the tradition of scrupulous scholarship with a broad base of general knowledge typified in the early days of the profession of art history in 19 th-century Germany.
Paul Philippot (1925–2016) was an influential conservation theoretician and author in addition to... more Paul Philippot (1925–2016) was an influential conservation theoretician and author in addition to serving as an important leader or collaborator with major conservation institutions in Europe (ICR, ICCROM, IIC, UNESCO, ICOM, etc.). He was an art historian born into a Belgian family of conservator-restorers. The authors were privileged to interview him in 1997, 2009 and 2015. Verbeeck discusses Philippot’s relation to and reinterpretation of the philosophy of Cesare Brandi, his definition of restoration as both an intellectual judgment and a critical act, and his influence on the establishment of an interdisciplinary curriculum for pioneer training programs. Stoner describes Philippot’s emphasis on the impact of language on communication of philosophical concepts in his 1997 interview in addition to key points in his publications once they were available in English, especially his description of patina as the normal effect that time has on material and the search for equilibrium in c...
American Art, 2010
How will Andrew Wyeth be remembered in the world of American art? Scholar Wanda Corn calls him a ... more How will Andrew Wyeth be remembered in the world of American art? Scholar Wanda Corn calls him a magic realist with a signature style of tilted space and aloneness. Donald Kuspit wrote in 2004 that, like Albrecht Dürer, Wyeth is a master of hair which in the Renaissance ...
Studies in Conservation, Dec 1, 2005
... In 1976 and 1977, Dr Joyce Hill Stoner interviewed John Brealey in three installments for the... more ... In 1976 and 1977, Dr Joyce Hill Stoner interviewed John Brealey in three installments for the Foundation of the American Institute ... In 1996, Stoner interviewed Hubert von Sonnenburg (1928-2004), another inspiring speaker in front of paintings, asking especially about Hell and ...
... Author: Stoner, Joyce Hill Title Article/Chapter: "Collaborations with living artists: t... more ... Author: Stoner, Joyce Hill Title Article/Chapter: "Collaborations with living artists: the Wyeths (aka the Pennsylvania Bruegels)" Title of ... de l'artiste; Vernis Subject Date: 1900AD-2000AD Subject Material: Stearic acid; Palmitic acid Subject Person: Wyeth, Andrew; Wyeth, Jamie ...
American Art, 2005
... Wyeth Studio has greatly aided my own research into the techniques and psychological history ... more ... Wyeth Studio has greatly aided my own research into the techniques and psychological history of NC, Andrew, and Jamie Wyeth; it awaits the visits of new generations of scholars investigating the Wyeth family or the history of American illustration. Joyce Hill Stoner has taught ...
Paul Philippot (1925–2016) was an influential conservation theoretician and author in addi- tion ... more Paul Philippot (1925–2016) was an influential conservation theoretician and author in addi- tion to serving as an important leader or col- laborator with major conservation institutions in Europe (ICR, ICCROM, IIC, UNESCO, ICOM, etc.). He was an art historian born into a Belgian fam- ily of conservator-restorers. The authors were privileged to interview him in 1997, 2009 and 2015. Verbeeck discusses Philippot’s relation to and reinterpretation of the philosophy of Cesare Brandi, his definition of restoration as both an intellectual judgment and a critical act, and his influence on the establishment of an interdis- ciplinary curriculum for pioneer training pro- grams. Stoner describes Philippot’s emphasis on the impact of language on communication of philosophical concepts in his 1997 interview in addition to key points in his publications once they were available in English, especially his de- scription of patina as the normal effect that time has on material and the search for equilibrium in cleaning paintings.
Studies in Conservation, 1990
Journal of the American Institute for Conservation, 1994
Journal of the American Institute of Conservation, 1990
The 19th-century American artist Washington Allston use multiple glaze layers, megilp, and asphal... more The 19th-century American artist Washington Allston use multiple glaze layers, megilp, and asphaltum, in addition to final glaze layers he called "Titian's dirt." These techniques could cause problems during later cleanings. Allston himself disclaimed authorship of one of his earlier paintings after it was cleaned by a restorer. His painting The Spanish Maid, his poetry, his palette, and his color theories are also considered
In addition to accumulated layers of grime, coatings, and materials from past restoration treatme... more In addition to accumulated layers of grime, coatings, and materials from past restoration treatments (discussed in Chapter 31), paintings may also have been intentionally altered after their original creation. Paintings have been cut down to fit through doorways or enlarged to fit frames; styles of hair and clothing may have been updated; medals or wreaths of honour might have been added, and so forth. If there has been a substantial interval between the original painting process and any later additions the changes may be identified by:
American Philosophical Society, 2011
A NDREW WYETH enjoyed undermining the stuffi ness of formal occasions. At the White House in 2007... more A NDREW WYETH enjoyed undermining the stuffi ness of formal occasions. At the White House in 2007, when he received the third of his trifecta of national art medals, he hugged President George W. Bush, clapped him on the back, laughed, and said, "Mr. President, we have something in common: the critics don't like either one of us!" In 2002 at Wheaton College in Massachusetts, upon receiving the twenty-second of his twenty-three honorary degrees, Wyeth went up to the podium and said, "I'm speechless," and demonstrated by promptly sitting down again. In the 1970s, wearing only socks, he and his niece "streaked" through the room during a formal party. He painted profoundly serious paintings juxtaposing mortality with the v itality of life, but would have been disappointed with an overly solemn eulogy. Andy (as he had us all address him) was the last of fi ve children born in Chadds Ford, Pennsylvania, to illustrator N. C. Wyeth, a largerthan-life father who immersed his brood in his passions for art, music, history, and nature. N. C. devoted a signifi cant proportion of his adult life to their upbringing, arranging formal studio art classes, costumed and play-acted holidays, adventure games, and regular family outings to tune the imagination. Whenever I read or heard about N. C. Wyeth's all-out parenting, I felt totally inadequate as a mother. Three of his fi ve children became professional artists, and the other two excelled in music or patents for the DuPont Company. Worrying over Andy's frail health, N. C. had taken him out of school to be tutored at home when he was only six. Andy loved to tell the story of receiving an honorary doctorate from Harvard in 1955, being asked by the university president what college he had attended, and surprising him with "Oh, I left school after the fi rst grade!" However, like many autodidacts, Andy was an avid reader, especially of biographies, and had surprisingly broad knowledge of history and current events. Once when I mentioned during the cocktail hour that I was treating a painting of Major John André, Andy gave a complete and accurate impromptu lecture on André, Benedict Arnold, and George Washington. At the age of twenty, Andy had a one-man show of his watercolors at the Macbeth Gallery in New York City and worried about how the works would fare during the Depression. However, by the end of the second day all twenty-three paintings had sold. He was, of course, ecstatic, but his father was now jealous of his protégé, writing to Andy's sister Henriette, "What magical power that boy has! I am at once stimulated beyond words to new, purer effort, and plunged into black despair." Andy loved this overpowering father, but also needed to escape his infl uence on occasion; he developed early his ability to slip away mysteriously and often referred to himself as the "damned elusive [Scarlet]
The 19th-century American artist Washington Allston used multiple glaze layers, megilp and asphal... more The 19th-century American artist Washington Allston used multiple glaze layers, megilp and asphaltum, and final tonings employing what the artist called 'Titian's dirt." These techniques could cause problems during later cleanings. Allston himself disclaimed authorship of one of his earlier paintings after it was cleaned. His painting The Spanish Maid, his poetry, his palette, and his color theories are also considered, primarily through study of contemporary documents and visual impact. THERE ARE at least three reasons paintings by the American artist Washington Allston (1779-1843) should be approached even more circumspectly than usual by a painting conservator: his multiple soluble glazings, his documented penchant for the use of megilp and asphaltum, and his final tonings using what he called 'Titian's dirt." Allston is not as well known in today's art world as his 19th-century admirers would have predicted. Perhaps he was too eclectic and chameleonlike in his ability to pick up and translate different styles as he attempted to bring reflections of European masterworks back to Boston. Allston had phases as a painter of precise genre scenes, a history painter, a follower of Poussin with Italian Landscape (1805, Addison Gallery), and a follower of Michelangelo with Urfel in the Sun (1817, Boston University), and was known for his glazes from midcareer on. This article will focus on historical sources and visual examination of the small, late pictures by the older Allston, a poet and philosopher in his 50s. In these misty, melancholy, visionary images Allston seems at last to be less a mimic of other artists' styles than a synthesizer of his own dreams in both words and glazes. HAZE AND MISTY VIS ALLSTON'S The Spanish Maid like several of his other works, is both a painting (figure 1) and a poem (appendix 1), and the two must be considered in tandem. H.W.L. Dana (1943, 49) noted that the conception of the poem and the picture had been simultaneous in Allston's mind. In Allston's poem, Inez is sitting on an isolated grassy knoll, waiting for her lover Isidor, who has been gone for five months. She is suspended between dreams of his valiant fall and a longing for his safe return. In the painting, there is deep recession of space, although the actual landscape perspective is a bit ambiguous. The entry in the Metropolitan Museum of Art catalog (in press) reads: 'Through an extraordinary blend of blue, red, and green, the landscape is now a confusing blur, and one has trouble imagining its original appearance." The "blur" was probably quite intentional as the poem
Journal of the American Institute for Conservation, 1990
The 19th-century American artist Washington Allston used multiple glaze layers, megilp and asphal... more The 19th-century American artist Washington Allston used multiple glaze layers, megilp and asphaltum, and final tonings employing what the artist called" Titian's dirt." These techniques could cause problems during later cleanings. Allston himself disclaimed authorship of one ...
Preprints of the 12th Triennal Meeting of the ICOM …, 1999
... Author: Stoner, Joyce Hill Title Article/Chapter: "Collaborations with living artists: t... more ... Author: Stoner, Joyce Hill Title Article/Chapter: "Collaborations with living artists: the Wyeths (aka the Pennsylvania Bruegels)
The author has interviewed and worked on treatments of paintings by artists Andrew and Jamie Wyeth. Adventures in collaborations with living artists are discussed. Conservation concerns includes efflorescence (stearic and palmitic acids) from egg tempera paint, surface gloss preferences, and the artists' localized use of varnishes.
Volume 25, Number 3 Oct 2001. Conservation of Our Careers. A talk given by Joyce Hill Stoner at A... more Volume 25, Number 3 Oct 2001. Conservation of Our Careers. A talk given by Joyce Hill Stoner at AIC Dallas, June 1, 2001. ... There are two admittedly happy conservators I have always admired for their serenity in the face of chaoswho meditate. I'll return to that concept later. ...
Studies in Conservation, 2004
Hubert von Sonnenburg was considered one of the world's leading paintings conservators and schola... more Hubert von Sonnenburg was considered one of the world's leading paintings conservators and scholars of technical art history. He upheld the tradition of scrupulous scholarship with a broad base of general knowledge typified in the early days of the profession of art history in 19 th-century Germany.
Paul Philippot (1925–2016) was an influential conservation theoretician and author in addition to... more Paul Philippot (1925–2016) was an influential conservation theoretician and author in addition to serving as an important leader or collaborator with major conservation institutions in Europe (ICR, ICCROM, IIC, UNESCO, ICOM, etc.). He was an art historian born into a Belgian family of conservator-restorers. The authors were privileged to interview him in 1997, 2009 and 2015. Verbeeck discusses Philippot’s relation to and reinterpretation of the philosophy of Cesare Brandi, his definition of restoration as both an intellectual judgment and a critical act, and his influence on the establishment of an interdisciplinary curriculum for pioneer training programs. Stoner describes Philippot’s emphasis on the impact of language on communication of philosophical concepts in his 1997 interview in addition to key points in his publications once they were available in English, especially his description of patina as the normal effect that time has on material and the search for equilibrium in c...
American Art, 2010
How will Andrew Wyeth be remembered in the world of American art? Scholar Wanda Corn calls him a ... more How will Andrew Wyeth be remembered in the world of American art? Scholar Wanda Corn calls him a magic realist with a signature style of tilted space and aloneness. Donald Kuspit wrote in 2004 that, like Albrecht Dürer, Wyeth is a master of hair which in the Renaissance ...
Studies in Conservation, Dec 1, 2005
... In 1976 and 1977, Dr Joyce Hill Stoner interviewed John Brealey in three installments for the... more ... In 1976 and 1977, Dr Joyce Hill Stoner interviewed John Brealey in three installments for the Foundation of the American Institute ... In 1996, Stoner interviewed Hubert von Sonnenburg (1928-2004), another inspiring speaker in front of paintings, asking especially about Hell and ...
... Author: Stoner, Joyce Hill Title Article/Chapter: "Collaborations with living artists: t... more ... Author: Stoner, Joyce Hill Title Article/Chapter: "Collaborations with living artists: the Wyeths (aka the Pennsylvania Bruegels)" Title of ... de l'artiste; Vernis Subject Date: 1900AD-2000AD Subject Material: Stearic acid; Palmitic acid Subject Person: Wyeth, Andrew; Wyeth, Jamie ...
American Art, 2005
... Wyeth Studio has greatly aided my own research into the techniques and psychological history ... more ... Wyeth Studio has greatly aided my own research into the techniques and psychological history of NC, Andrew, and Jamie Wyeth; it awaits the visits of new generations of scholars investigating the Wyeth family or the history of American illustration. Joyce Hill Stoner has taught ...
Paul Philippot (1925–2016) was an influential conservation theoretician and author in addi- tion ... more Paul Philippot (1925–2016) was an influential conservation theoretician and author in addi- tion to serving as an important leader or col- laborator with major conservation institutions in Europe (ICR, ICCROM, IIC, UNESCO, ICOM, etc.). He was an art historian born into a Belgian fam- ily of conservator-restorers. The authors were privileged to interview him in 1997, 2009 and 2015. Verbeeck discusses Philippot’s relation to and reinterpretation of the philosophy of Cesare Brandi, his definition of restoration as both an intellectual judgment and a critical act, and his influence on the establishment of an interdis- ciplinary curriculum for pioneer training pro- grams. Stoner describes Philippot’s emphasis on the impact of language on communication of philosophical concepts in his 1997 interview in addition to key points in his publications once they were available in English, especially his de- scription of patina as the normal effect that time has on material and the search for equilibrium in cleaning paintings.
Studies in Conservation, 1990
Journal of the American Institute for Conservation, 1994