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Beltinger Karoline. Cuno Amiet und die Temperamalerei in der Schweiz um 1900
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Borchert Till-Holger (1967- )
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Brink Peter van den (1956- ). Two “new” paintings by Jan de Beer – technical studies connoisseurship and provenance research
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Bucken Veronique. Le Triptyque de l'Adoration des Mages (Turin-Genes) et le mecenat d'Hendrik Keddekin abbe de Ter Doest
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Christie Nicola. The Calling of Saint Matthew attributed to the Master of the Abbey of Dielegem
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Ciulisova Ingrid (1960- ). The Saint Michael altarpiece in Spisska Kapitula - a preliminary report
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Couvert Jacqueline
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Currie Christina. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
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Dietemann Patrick. Ernst Ludwig Kirchner's binding media - material surface and colour perception
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Dubois Anne
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Dubois Anne. XRF analysis of pigments in the Donne Hours (Louvain-la-Neuve Archives de l’Universite ms. A2)
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Eckstein Lisa. Master or assistant? – painted alterations in the Pleydenwurff workshop
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Ewing Dan. Two new paintings by Jan de Beer – technical studies connoisseurship and provenance research
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Faries Molly (1940- ). Identifying two family members in Jacob Cornelisz's Amsterdam workshop: Cornelis Buys and Cornelis Anthonisz
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Fiedler Irene (1948- ). Ernst Ludwig Kirchner's binding media - material surface and colour perception
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Fraiture Pascale. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
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Fransen Bart (1973- ). The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece
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Fucker Beate. Geschichte Herstellung und Verwendung von Glasaugen an barocker polychromer Grossplastik im deutschsprachigen Raum
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Fucker Beate. Master or assistant? – painted alterations in the Pleydenwurff workshop
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Gabler Wolfram (1954- )
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Galassi Maria Clelia (1954- ). Revising Friedlander - the underdrawing connoisseurship” and the Master of the Turin Adoration
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Gifford E. Melanie. Keynotlecture - Willem van Aelst and the market for still-life painting in Paris - reattribution of an aarly work
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Griesebach Lucius (1942- ). Vorderseite? Ruckseite? ober beides? Uber den Umgang mit Ernst Ludwig Kirchners doppelseitig bemalten Leinwanden
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Groot Suzan de (1972- ). Breitner's paint box and the colours of Standage
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Haidvogl Martina. Audiokunstwerke von Dieter Roth. Problematiken und mogliche Losungsansatze zur Erhaltung
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Hartwieg Babette (1958- ). The Goldene Tafel from Liineburg c. 1420 - new findings about painting process and characteristics
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Henderiks Valentine. Albrecht Bouts in Sibiu: a unique self-portrait in Memento mori
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Hirschfelder Dagmar (1973- ). Master or assistant? – painted alterations in the Pleydenwurff workshop
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Keijzer Matthijs de. Breitner's paint box and the colours of Standage
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Kemperdick Stephan (1960- ). Philip the Good bare-headed - in search for original and copy
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Keulen Henk van. Breitner's paint box and the colours of Standage
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Krekel Christoph (1966- )
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Krekel Christoph (1966- ). Der Reichtum der Palette. Kirchners Pigmente
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Laine David. Reading between the lines... - attribution problems regarding early sixteenth century Louvain painters
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Megens Luc (1970- ). Breitner's paint box and the colours of Standage
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Meuwissen Daantje (1970- ). Identifying two family members in Jacob Cornelisz's Amsterdam workshop: Cornelis Buys and Cornelis Anthonisz
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Muller Wolfgang (chemia). Losemittelsensitivitat moderner Olfarben. Empfindlichkeit synthetisch-organischer Pigmente in Kunstlerfarben des 20. Jahrhunderts
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Niessen Judith (1971- ). The triptych of the True Cross in Veurne in connection to a drawing in Rotterdam - working process and attribution
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Oosterwijk Anne van. The contribution of technical art history to the reconstruction of the oeuvre of Pieter I Claeissens
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Perier-D'Ieteren Catheline (1944- ). The painted wings of the Passion Altarpiece of Giistrow - a vast collective enterprise
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Pfenninger Martina. Audiokunstwerke von Dieter Roth. Problematiken und mogliche Losungsansatze zur Erhaltung
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Pohlmann Albrecht (1961- ). Der Kunstler schaffe bewusst!. Wilhelm Ostwalds Malerbriefe (1904) und andere Schriften als kunsttechnologisches Paradigma einer kommenden Kunst
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Richter Mark. Indanthrenblau Helioechtrot and Pigmentscharlach. Identification of synthetic organic pigments in paintings of Ernst Ludwig Kirchner using Raman microscopy
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Saint-George Caroline von (1971- ). Die Asthetik der Oberflache. Vom Umgang mit Firnis inderdeutschen Malerei um1900 mit abschliessendem Blick auf die Brucke
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Sandalinas Linares Carmen. The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece
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Saverwyns Steven. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
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Schaible Volker
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Scherrer Nadim C. Losemittelsensitivitat moderner Olfarben. Empfindlichkeit synthetisch-organischer Pigmente in Kunstlerfarben des 20. Jahrhunderts
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Schick Karin (1968- ). Farbe in Schwarz-Weiss: Kompositionen bei Kirchner
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Skowranek Heide (1973- ). Der Reichtum der Palette. Kirchners Pigmente
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Skowranek Heide (1973- ). Unmittelbar und expressiv? Zur technischen Genese der Malerei Ernst Ludwig Kirchners
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Soika Aya (1975- ). Die Originalitat der Brucke
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Stege Heike (1970- ). Indanthrenblau Helioechtrot and Pigmentscharlach. Identification of synthetic organic pigments in paintings of Ernst Ludwig Kirchner using Raman microscopy
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Steuer Christoph. Indanthrenblau Helioechtrot and Pigmentscharlach. Identification of synthetic organic pigments in paintings of Ernst Ludwig Kirchner using Raman microscopy
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Steyaert Griet (1965- ). The Beaune last judgement - sorting out Rogier van der Weyden and his assistants
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Van Eyck Elisabeth. The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece
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Waterman Joshua P. (1974- ). Master or assistant? – painted alterations in the Pleydenwurff workshop
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Whitaker Lucy. The Calling of Saint Matthew attributed to the Master of the Abbey of Dielegem
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Whitaker Lucy. Who is the man in red and who painted him?
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Wolters Margreet (1958- ). The triptych of the True Cross in Veurne in connection to a drawing in Rotterdam - working process and attribution
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Zumbuhl Stefan. Losemittelsensitivitat moderner Olfarben. Empfindlichkeit synthetisch-organischer Pigmente in Kunstlerfarben des 20. Jahrhunderts
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6 wyników Filtruj
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Autor
Gabler Wolfram (1954- ). Krekel Christoph (1966- ). Schaible Volker. Baumer Ursula. Ernst Ludwig Kirchner's binding media - material, surface and colour perception Beil Cedric. Ernst Ludwig Kirchner's binding media - material, surface and colour perception Beltinger Karoline. Cuno Amiet und die Temperamalerei in der Schweiz um 1900 Berg Klaas Jan van den (1964- ). Breitner's paint box and the colours of Standage Blumenroth Diana Sabine. Lösemittelsensitivität moderner Ölfarben. Empfindlichkeit synthetisch-organischer Pigmente in Künstlerfarben des 20. Jahrhunderts Diependaal Hannie. Breitner's paint box and the colours of Standage Dietemann Patrick. Ernst Ludwig Kirchner's binding media - material, surface and colour perception Fiedler Irene (1948- ). Ernst Ludwig Kirchner's binding media - material, surface and colour perception Fücker Beate. Geschichte, Herstellung und Verwendung von Glasaugen an barocker, polychromer Grossplastik im deutschsprachigen Raum Griesebach Lucius (1942- ). Vorderseite? Rűckseite? ober beides? Über den Umgang mit Ernst Ludwig Kirchners doppelseitig bemalten Leinwänden Groot Suzan de (1972- ). Breitner's paint box and the colours of Standage Haidvogl Martina. Audiokunstwerke von Dieter Roth. Problematiken und mögliche Lōsungsansätze zur Erhaltung Keijzer Matthijs de. Breitner's paint box and the colours of Standage Keulen Henk van. Breitner's paint box and the colours of Standage Krekel Christoph (1966- ). "Der Reichtum der Palette". Kirchners Pigmente Megens Luc (1970- ). Breitner's paint box and the colours of Standage Müller Wolfgang (chemia). Lösemittelsensitivität moderner Ölfarben. Empfindlichkeit synthetisch-organischer Pigmente in Künstlerfarben des 20. Jahrhunderts Pfenninger Martina. Audiokunstwerke von Dieter Roth. Problematiken und mögliche Lōsungsansätze zur Erhaltung Pohlmann Albrecht (1961- ). "Der Künstler schaffe bewusst!". Wilhelm Ostwalds "Malerbriefe" (1904) und andere Schriften als kunsttechnologisches Paradigma einer kommenden Kunst Richter Mark. Indanthrenblau, Helioechtrot and Pigmentscharlach. Identification of synthetic organic pigments in paintings of Ernst Ludwig Kirchner using Raman microscopy Saint-George Caroline von (1971- ). Die Ästhetik der Oberfläche. Vom Umgang mit Firnis inderdeutschen Malerei um1900 mit abschliessendem Blick auf die "Brücke" Scherrer Nadim C. Lösemittelsensitivität moderner Ölfarben. Empfindlichkeit synthetisch-organischer Pigmente in Künstlerfarben des 20. Jahrhunderts Schick Karin (1968- ). Farbe in Schwarz-Weiss: Kompositionen bei Kirchner Skowranek Heide (1973- ). Unmittelbar und expressiv? Zur technischen Genese der Malerei Ernst Ludwig Kirchners Skowranek Heide (1973- ). "Der Reichtum der Palette". Kirchners Pigmente Soika Aya (1975- ). Die Originalität der "Brücke" Stege Heike (1970- ). Indanthrenblau, Helioechtrot and Pigmentscharlach. Identification of synthetic organic pigments in paintings of Ernst Ludwig Kirchner using Raman microscopy Steuer Christoph. Indanthrenblau, Helioechtrot and Pigmentscharlach. Identification of synthetic organic pigments in paintings of Ernst Ludwig Kirchner using Raman microscopy Zumbühl Stefan. Lösemittelsensitivität moderner Ölfarben. Empfindlichkeit synthetisch-organischer Pigmente in Künstlerfarben des 20. Jahrhunderts
Indeks R0: BMNK
Z. monogr.: "Zeitschrift für Kunsttechnologie und Konservierung". Jg. 27 (2013), H. 1.
Tyt. wg nagł.
Bibliogr.w przypisach do ref.
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Magazyn
Zapytaj bibliotekarza: sygn. Czas. III 2217/27/1 sygn. Czas. III 2217/27/1 (1 egz.)
Książka
W koszyku
(Dessin Sous-Jacent et la Technologie dans la Peinture = Underdrawing and Technology in Painting ; symposium 19)
Autor
Borchert Till-Holger (1967- ). Couvert Jacqueline. Dubois Anne. Ainsworth Maryan Wynn. The Middendorf altarpiece by a follower of Hugo van der Goes Allart Dominique. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger Baum Katja von. Master or assistant? – painted alterations in the Pleydenwurff workshop Billinge Rachel. The Beaune last judgement - sorting out Rogier van der Weyden and his assistants Brink Peter van den (1956- ). Two “new” paintings by Jan de Beer – technical studies, connoisseurship and provenance research Bücken Véronique. Le Triptyque de l'Adoration des Mages (Turin-Gênes) et le mecenat d'Hendrik Keddekin, abbe de Ter Doest Ciulisová Ingrid (1960- ). The Saint Michael altarpiece in Spišská Kapitula - a preliminary report Chorley Claire. Hans Holbein Hans of Antwerp - findings from the recent examination, cleaning and restoration Christie Nicola. The Calling of Saint Matthew attributed to the Master of the Abbey of Dielegem Currie Christina. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger Debaene Marjan (1978- ). Reading between the lines... - attribution problems regarding early sixteenth century Louvain painters Dubois Anne. XRF analysis of pigments in the Donne Hours (Louvain-la-Neuve, Archives de l’Université, ms. A2) Dyballa Katrin. The oeuvre of Jan Swart van Groningen reconsidered Eckstein Lisa. Master or assistant? – painted alterations in the Pleydenwurff workshop Ewing Dan. Two "new" paintings by Jan de Beer – technical studies, connoisseurship and provenance research Faries Molly (1940- ). Identifying two family members in Jacob Cornelisz's Amsterdam workshop: Cornelis Buys and Cornelis Anthonisz Fraiture Pascale. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger Fransen Bart (1973- ). The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece Fücker Beate. Master or assistant? – painted alterations in the Pleydenwurff workshop Galassi Maria Clelia (1954- ). Revising Friedländer - the "underdrawing connoisseurship” and the Master of the Turin Adoration Gifford E. Melanie. Keynotlecture - Willem van Aelst and the market for still-life painting in Paris - reattribution of an aarly work Hartwieg Babette (1958- ). The Goldene Tafel from Liineburg, c. 1420 - new findings about painting process and characteristics Henderiks Valentine. Albrecht Bouts in Sibiu: a unique self-portrait in "Memento mori" Hirschfelder Dagmar (1973- ). Master or assistant? – painted alterations in the Pleydenwurff workshop Kemperdick Stephan (1960- ). Philip the Good bare-headed - in search for original and copy Kempski Mary. Who is the man in red and who painted him? Lainé David. Reading between the lines... - attribution problems regarding early sixteenth century Louvain painters Limentani Virdis Caterina (1940-2018). A new Virgo Lactans of the Gold Brocade group Meuwissen Daantje (1970- ). Identifying two family members in Jacob Cornelisz's Amsterdam workshop: Cornelis Buys and Cornelis Anthonisz Niessen Judith (1971- ). The triptych of the True Cross in Veurne in connection to a drawing in Rotterdam - working process and attribution Oosterwijk Anne van. The contribution of technical art history to the reconstruction of the oeuvre of Pieter I Claeissens Périer-D'Ieteren Catheline (1944- ). The painted wings of the Passion Altarpiece of Giistrow - a vast collective enterprise Sandalinas Linares Carmen. The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece Saverwyns Steven. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger Steyaert Griet (1965- ). The Beaune last judgement - sorting out Rogier van der Weyden and his assistants Van Eyck Elisabeth. The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Marés - as unusual altarpiece Waterman Joshua P. (1974- ). Master or assistant? – painted alterations in the Pleydenwurff workshop Whitaker Lucy. The Calling of Saint Matthew attributed to the Master of the Abbey of Dielegem Whitaker Lucy. Who is the man in red and who painted him? Wolters Margreet (1958- ). The triptych of the True Cross in Veurne in connection to a drawing in Rotterdam - working process and attribution
Indeks R0: BMNK
Konferencja zorganizowana przez: Université catholique de Louvain, Musée de Louvain-la-Neuve, and Musea Brugge in collaboration with KIK-IRPA, Royal Institute for Cultural Heritage, Illuminare - Centre for Study of Medieval Art - KULeuven - University of Leuven.
Druk. dedyk.: In memoriam Roger Van Schoute.
Bibliogr. s. 351-369.
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Są egzemplarze dostępne do wypożyczenia: sygn. III 24321 sygn. III 24321 (1 egz.)
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