Cennino Cennini's Il Libro Dell'arte: A New English Language Translation and Commentary and Italian Transcription

by Cennino Cennini

Book Overview

This book, a new translation (with introduction and notes) of Il Libro dell'Arte, marks a great step forward in our understanding of Cennino Cennini - his life and times - and the materials and techniques employed by artists in fourteenth century Italy.

Over eighty years ago, D. V. Thompson presented his translation entitled The Craftsman's Handbook as a workshop manual aimed at readers who wished to produce a work of art by following Cennino's...

• Format: Paperback
• Language: English
• ISBN: 1909492280
• ISBN13: 9781909492288
• Release Date: July 2015
• Publisher: Archetype Publications
• Length: 248 Pages
• Weight: 1.70 lbs.
• Dimensions: 0.9" x 6.9" x 9.5"

Customer Reviews

Excellent resource, challenging read for the layperson, but very reliable information, it's like tra

Insight into renaissance painting technique

This ultimate treatise on painting technique, together with the perception and insight of the artist Cenninni opens a wonderful new window into the realities of art and craftsmanship in this fascinating period. One also gets an idea of just how skilled these people are and how hard they worked to achieve the perfection in their works. A MUST-have for anyone interested in Renaissance painting, or painting technique - from the horse's mouth. I'm thrilled to possess this book!

A Masterpiece

Learn how to paint like medieval artists, right down to the colors and techniques they used.

instruction manual for historic painting

This little gem contains a great deal of use for anyone trying to duplicate authentic, medieval /rennaisance painting techniques. The instructions on making egg tempera paints, for example, are extremely clear. This book may as well have "required reading" on the cover for anyone who is interested in painting, calligraphy, illumination or related fields in history and practice. Please be aware! many techniques, pigments, and methods used in history were hazardous. many pigments in use in proffessional art workshops today are hazardous as well, but the Medeival artist did not have OSHA regulations and disclaimers. Please investigate the safety of ANY procedure or pigment before use. This book is referenced by many other authors and webpages for their instructions, and can be used as Primary Documentation for most living history groups

Cennino's Handbook, Still Illuminating

Art, genuine art, is a pleasure not only in the thrill of color and line but in its procedure and materials. In fifteenth-century Florence, an artist named Cennino d'Andrea Cennini compiled a handbook for contemporary and future painters to consult in their drawing and painting from the beginning, in choosing their ingredients, mixing their paints and preparing their paper or cloth for painting on. Unlike the making of sausage, the elements of creating art are a delight. Here are some how-to's excerpted from this wonderful little book (translated by Daniel V. Thompson, Jr., 1933, reprinted numerous times by Dover), still vibrant five hundred years after it was composed. The details also unwittingly reveal something of contemporary everyday life, where the art came from. To paint on a panel, you start with a little boxwood panel nine inches square, washed with clear water and rubbed and smoothed down. "And when this little panel is thoroughly dry, take enough bone, ground diligently for two hours, to serve . . . take less than half a bean of this bone, or even less. And stir this bone up with saliva. Spread it all over the little panel with your fingers; and, before it gets dry, hold the little panel in your left hand, and tap over the panel with the finger tip of your right hand [presumably Cennino was right-handed] until you see that it is quite dry. And it will get coated with bone as evenly in one place as in another." Wondering where to find the bone? "You must know what bone is good. Take bone from the second joints and wings of fowls, or of a capon; and the older they are the better. Just as you find them under the dining-table, put them into the fire; and when you see that they have turned whiter than ashes, draw them out, and grind them well on the porphyry." Parchment comes from sheep or goats; to draw on sheep parchment, the artist lightly inscribes the background of bone with a sharp point. "On the parchment you may draw or sketch with this [stylus] of yours if you first put some of that bone . . . all over the parchment . . . dusting it off with a hare's foot." To add ink, "shade the folds with washes of ink; that is, as much water as a nutshell would hold, with two drops of ink in it; and shade with a brush made of minever tails . . ." "And if you ever make a slip, so that you want to remove some stroke made by this little lead, take a bit of the crumb of some bread, and rub it over the paper, and you will remove whatever you wish." The artist gives equally clear and detailed instructions for whittling goose quills to get a sharp point for ink drawing, to tempering paper with several coats of glue (tempera), to making clear tracing paper by scraping kid parchment and treating it with linseed oil. White lead is a basic ingredient, so is saliva. (Saliva combined with lead poses a health hazard; painters often died young.) Colors come largely from minerals, and the author explains how to pulverize and mix minerals to produce th

Art Education for the new Millenium

A hand book for the fine artist. Art, drawing, computers, images of the mind all come together when we understand the skills that go into making a creative work. Hear the voices of Fifteenth Century craftmen. Try to understand their times and you will understand the how the skills of the Old Masters were aquired. If you are a serious artist, then take the opportunity to experience silverpoint drawing. Look for silverpointpanel on the web.