POLYCHROME SCULPTURE: TOOL MARKS, CONSTRUCTION TECHNIQUES, DECORATIVE PRACTICE AND ARTISTIC TRADITION

Papers and Posters

Proceedings of three Interim Meetings of ICOM-CC Working Group Sculpture, Polychromy, and Architectural Decoration

Maastricht, October 2010 ~ Hosted by SRAL, Maastricht
Glasgow, April 2012 ~ Hosted by Glasgow Life, Glasgow
Tomar, May 2013 ~ Hosted by Instituto Politécnico de Tomar, Tomar

Kate Seymour
(Editor)
 

Proceedings of three Interim Meetings of ICOM-CC Working Group Sculpture, Polychromy, and Architectural Decoration

Polychrome Sculpture: Tool Marks and Construction Techniques (Maastricht, 2010)

Polychrome Sculpture: Artistic Tradition and Construction Techniques (Glasgow, 2012)

Polychrome Sculpture: Decorative Practice and Artistic Tradition (Tomar, 2013)

Selection of papers:
Kate Seymour: Coordinator ICOM-CC Working Group Sculpture, Polychromy, and Architectural Decoration (Maastricht, October 2010; Glasgow, April 2012; Tomar, May 2013)

Arnold Truyen: Assistant Coordinator ICOM-CC Working Group Sculpture, Polychromy, and Architectural Decoration (Maastricht, October 2010; Glasgow, April 2012)

Stephanie de Roermer: GlasgowLife, Burrell Collection, Glasgow, UK (Glasgow, 2012)

Ana Bidarra: Assistant Coordinator ICOM-CC Working Group Sculpture, Polychromy, and Architectural Decoration (Tomar, May 2013)

Preface

‘Polychrome Sculpture: Tool Marks and Construction Techniques’ was the first of three Interim Meetings organised by the ICOM-CC Working Group Sculpture, Polychromy, and Architectural Decoration during the period 2010-2013 which focused on construction processes and decorative practice for polychrome sculptures. Papers given at the 2010 meeting covered the study of tool marks found on sculptures that relate to the construction process, whether these be related to the tools used to carve or mould the support or the periphery aids used by artisan carvers in their working practice, such as work benches or clamps. Registering, documenting and investigating the evidence of the working process can give insight into studio practice and if a large enough body of evidence is collected, may even provide tentative attribution to a specific studio or workshop. The meeting was hosted by the Stichting Restauratie Atelier Limburg (SRAL), in Maastricht and was attended by around 60 international specialists in the field of polychrome sculpture. Volume I of this compendium includes six of the nine papers and four of the five posters presented at the meeting.

The second meeting ‘Polychrome Sculpture: Artistic Tradition and Construction Techniques’ followed on in the theme outlined in 2010. This meeting was hosted at the Burrell Collection by Glasgow Life Museums, in Glasgow, UK in 2012. The two day symposium focused on artistic traditions within the field of polychrome sculpture. Papers were selected to follow on from themes touched upon in the preceding meeting in Maastricht, focusing on how artistic traditions influenced construction processes. Artistic practice from the Netherlands to Portugal, from the medieval to more modern times was outlined and links between different countries were emphasised. Seventeen papers and seven posters were presented during the meeting, of which twelve papers and six are published in Volume II of this compendium.

The third interim meeting Polychrome Sculpture: Decorative Practice and Artistic Tradition reviewed how decorative practice was linked to artistic tradition. Here seventeen papers and seventeen posters were presented, the majority of which are published in Volume III of this compendium. These focused on the surface effects created by artisans working on polychrome sculpture. Several decorative techniques have been addressed: painting techniques from different regions and epochs, gilding, estofado, use of incised and punched patterns, varnishes, lacquers, applications, and conservation methodology used to deal with challenging problems. Presentations showed that local practitioners are influenced by international taste and developments. The meeting was hosted and jointly organised by the Instituto Politecnico de Tomar (IPT) in Tomar Portugal.
 

Volume I: Polychrome Sculpture: Tool Marks and Construction Techniques (Maastricht, 2010)

Volume II: Polychrome Sculpture: Artistic Tradition and Construction Techniques (Glasgow, 2012)

Volume III: Polychrome Sculpture: Decorative Practice and Artistic Tradition (Tomar, 2013)