Category Archives: Marieke Hendriksen

Introducing ARTECHNE – Technique in the Arts, 1500-1950

By Sven Dupré and Marieke Hendriksen

Gerard Dou, Man Writing by an Easel. c. 1631-32. 31.5 x 25 cm, oil on panel. Private collection
Gerard Dou, Man Writing by an Easel. c. 1631-32. 31.5 x 25 cm, oil on panel. Private collection

What is ‘technique’ in the visual and decorative arts? And how is ‘technique’ transmitted? Those are the central questions of ARTECHNE, a five-year project supported by the European Research Council, and led by Sven Dupré, that started at Utrecht University and the University of Amsterdam in September 2015. ARTECHNE is the acronym of the project. Its full title is “Technique in the Arts: Concepts, Practices, Expertise, 1500-1950”.

To answer these questions an interdisciplinary team of researchers with backgrounds in history of art, science and technology, based at the Descartes Center for the History and Philosophy of the Sciences and the Humanities in Utrecht umanitiesworks together with conservators and conservation scientists at the Atelier Building / NICAS in Amsterdam.

One aim of the ARTECHNE Project is to write the history of the conservation studios or laboratories and the research uniting conservation, art history and science in the Atelier Building. This field of research (or is it a nascent discipline?) is now often called technical art history.

‘Technique’ is a fundamental concept in technical art history, but its meaning has evolved over time. By providing a history of technique in the arts, the ARTECHNE project will help to reflect on both historical and current knowledge practices in technical art history, conservation and restoration. For example, one of the four sub-projects focuses on the ways in which new visualization technologies and science-based methods (such as X-rays, black-and-white photography and chemical analysis of paint cross sections) shaped art history and conservation practice in the first half of the twentieth century.

Daniel V. Thompson's 1954 translation of Cennino Cennini's Libro dell'Arte.
Daniel V. Thompson’s 1954 translation of Cennino Cennini’s Libro dell’Arte.

The ARTECHNE Project starts from the observation that the transmission of ‘technique’ in the arts has been a conspicuous ‘black box’ resisting analysis. The tools of the humanities used to study the transmission of ideas and concepts are insufficient when it comes to understanding the transmission of something as non-propositional and non-verbal as ‘technique’.

Therefore, one sub-project, in which PhD candidate Thijs Hagendijk works closely together with conservation and restoration specialists at the Atelier Building, undertakes the experimental reconstruction of historical recipes to open the black box of the transmission of technique in the visual and decorative arts. The aim of these reconstructions is understanding the textual culture of the early modern workshop and the role of recipes in practices. Did early modern people learn from texts to do things? And if so, in which ways did they use recipes? We primarily look at artisans, but this was a hybrid identity at the time.

The historical sources of the ARTECHNE project are foremost recipes, or how-to instructions. We should also reflect on why and how these sources have come down to us. Jenny Boulboullé in her sub-project investigates the creation of editions and translations of premodern and early modern texts, such as the editions and translations of Cennino Cennini by Mary Merrifield and Daniel Thompson, in the nineteenth and early twentieth centuries. While such editions are still used by conservators and restorers today, one point of attention in ARTECHNE is the role of conservation and restoration projects, painting practice and reconstructions in these editorial projects.

Finally, in response to one of the main questions driving the ARTECHNE Project, Marieke Hendriksen writes a history of the shifting meanings of the term ‘technique’ in the arts and sciences. To support her research and that of the other project members, building on ColourConText hosted at the Max Planck Institute for the History of Science, she will create a database containing recipes as well as art theoretical texts that can clarify the development of the use of the term ‘technique’ – a neologism in the vernacular in the mid-eighteenth century – as well as related terms referring to processes of making and doing. The database (which will be hosted at the ARTECHNE website) will be linked to GIS software, thus creating an online historical semantic map of ‘technique’.

Marieke Hendriksen and Thijs Hagendijk have taken up their posts in the first months of 2016. We look forward to the arrival of Mariana Pinto (from the conservation and materials science program at UCL Qatar) and Jenny Boulboullé (from the Making and Knowing Project at Columbia University)  over the summer, and to earnestly start with the reconstructions in the fall. Tonny Beentjes, leader of the metal conservation program at the University of Amsterdam, and Maartje Stols-Witlox, lecturer of paintings conservation, have joined the ARTECHNE Project. We are still looking to appoint a glass expert. ARTECHNE is supported by program manager Jill Briggeman, who also maintains the website.

This website, www.artechne.nl, is now online. Over the next few months, we will add more information about the project in blogs, and we list events, like the monthly Technical Art History Colloquium. Sign up for updates on the website and follow us on Twitter! (@ArtechneProject)

The ERC ARTECHNE project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement No 648718) and is a cooperation of Utrecht University and University of Amsterdam.

How to avoid a bad buy and angry patrons: a recipe for pigment testing

As we have seen in other blog posts before, recipes for counterfeits, imitations, and ersatz products were fairly common in the early modern period. On the other hand, there were recipes to detect the results of such deceit, such as this recipe to determine whether wine had been sweetened with lead or not. This testing of products was not only relevant for consumers and apothecaries, but also for artists, as appears from an eighteenth-century artist’s manuscript I have been studying recently.

Mattheus Verheyden, portrait of Otto Frederick Houttuyn. Was the robe painted with a cochineal-based red?
Mattheus Verheyden, portrait of Otto Frederick Houttuyn. Was the robe painted with a cochineal-based red?

Mattheus Verheyden or Verheijden (1700-1776) was a successful Dutch portrait painter. The son of the painter Franck Pietersz Verheyden was orphaned at an early age, but thanks to his late mother’s fortune he received training as an artist and soon he became a sought-after painter in the upper classes, and made many portraits of regents, clergymen and royals. In the Rijksmuseum Research Library, a manuscript ‘art and recipe book’ attributed to him is kept (call number 319H17). Written in a neat hand in an unruled notebook meant for music notation, Verheyden recorded almost two hundred pages of recipes and instructions for artists. On the title page he wrote: “Art and Recipe book, for painters and etchers &c., brought together over time and with diligence, by M.V.H.” Some of the instructions come from well-known artists handbooks of the time, while the origin of others is not entirely clear.

From the order of the contents of the book, it becomes clear that the quality of his materials was very important for Verheyden. The first ten pages are devoted to various recipes for making ultramarine paint based on lapis lazuli. Yet they are followed by a recipe that does not describe how to make a paint, but how to test the quality of pigments. It reads:

Verheyden's pigment test. Source: Rijksmuseum Research Library, call number 319H17.
Verheyden’s pigment test. Source: Rijksmuseum Research Library, call number 319H17.

Test, to discover whether the lacquer one uses to paint is good &c. If the lacquer is made of cochineal, it never changes. And if it is made of Brazil wood, &c., it will becomes an orange colour over time. To discover this, take a small grain of lacquer, and rub it with your nail on a piece of white paper, and put a drop of lemon juice on it. Rub it through the lacquer with your finger. If the lacquer remains unchanged, it is good, and made of cochineal. But if it turns an orange colour, it is unstable, and made of Fernambuk, or Brazil wood, and will evaporate over time, and is no good.

Cochineal in crude and powdered form
Cochineal in crude and powdered form
Powdered brazil wood extract. It is not difficult to imagine the confusion.
Powdered brazil wood extract. It is not difficult to imagine the confusion.

Red pigment made of brazil wood was – and is – much cheaper than that made of cochineal. Even today, the latter is four to thirteen times more expensive than the former – crude cochineal sells at about ten euros for 25 grams, and carmine red (purified cochineal) costs about thirty euros per 25 grams, while the same amount of brazil wood pigment costs only about 2.25 euros. The relative instability of brazil wood as a red pigment had been known for centuries, but this recipe gave a quick and relatively easy way to determine whether what was on offer was cochineal or brazil wood.

For an artists like Verheyden, whose reputation depended partly on the quality of the source materials he used for his paints, this was understandably very important. Commercial, ready-to-use paints only became available in the nineteenth century. Although Verheyden’s recipe book never appeared in print as far as we know, it is reasonable to assume that the kind of testing and quality-control described in this recipe was a desirable commodity for painters and other artists who worked with pigments that they bought from apothecaries, herbalists, chemists, or traveling salesmen.

Searching for Recipes: A Glimpse of Early Modern Upper Class Life

By Marieke Hendriksen

On this blog we tend to hear a lot about English household manuscript recipes but lively traditions existed elsewhere, as Sietske Fransen and Saskia Klerk also show in their series on a Dutch manuscript of recipesIn my own search for eighteenth-century Dutch medical and chemical recipes, I often come across manuscript recipe books that lack a detailed catalogue description, so I have to check them page-by-page to see if there is anything relevant for my current research.

Often these recipe books have little to do with medicine or chemistry, or they contain only a limited number of medical home remedies. Yet this does not make these books any less interesting to researchers. This week, when I opened a manuscript at Museum Boerhaave (inventory number BOERH a 176) which was marked in the catalogue as ‘medicine book and recipes, before 1860’, I caught a fascinating glimpse of early modern upper class life.

Kitchen interior, oil on canvas, Dutch, anonymous, second half of 17th C.
Kitchen interior, oil on canvas, Dutch, anonymous, second half of 17th C. Courtesy of RKD images.

Judging by the spelling and state of the paper, my guess is that this manuscript is quite a bit older than ‘before 1860’, it dates probably from the eighteenth or maybe even the seventeenth century. This is supported by the fact that underneath one of the recipes someone has noted in a different hand ‘1721: selfs geprobeerd’ (‘tried myself’). The cover and a number of pages are missing, but it contains a wealth of recipes for food, human and veterinary medicine, household chores, and home decorations. As many of the cookery recipes list expensive ingredients spices and lemons, and as the book also contains recipes for gilding, ink, paints, wax fruit, and a special recipe for nightingale food, it seems most likely that the recipes were collected in an upper class household, like that of an aristocratic or well-off merchant family.

Unfortunately the manuscript is anonymous, and the few names that are mentioned give little direction either. The only names mentioned are a certain mister Plaatman as the source of a recipe against kidney stones, and with a recipe for a potion, the author has noted ‘bij Susanna ghebruijckt in haer siekte’ (‘used with Susanna in her illness’). Given the distinct upper class feel of the recipes, and that fact that they are written in high Dutch in seventeenth and/or eighteenth century, the first Susanna that springs to mind is Susanna Huygens (1637-1725), daughter of Constantijn. Of course there must have been more women named Susanna, but the population of the United Provinces around 1800 was small – roughly 2 million people – and the upper class thus too, so it would be interesting to see if additional research can confirm this surmise.

Pieter Holsteyn I, Nightingale, crayon and gouache on paper, ca. 1656-1667.
Pieter Holsteyn I, Nightingale, crayon and gouache on paper, ca. 1656-1667.  Courtesy of RKD Images.

Whether this recipe book was owned by the Huygens family or another upper class Dutch family, it gives a fascinating insight in daily life. And for those of you wanting to take up a nice early modern hobby over the holidays, like keeping a nightingale as a pet, here is the recipe for nightingale’s food: ‘Mix finely cut lamb’s heart, hemp seed, parsley, rusk, egg yolk and sweet almonds. Can be fed every two hours.’

From bloodstone to fish soup: iron recipes

By Marieke Hendrikksen

In my research on the use of metals in eighteenth-century medical chemistry, iron has a special place. Unlike other metals, which were increasingly regarded as dangerous, iron remained a safe bet in blood-related diseases. However, up until the early nineteenth century, this understanding was not so much based on a chemical understanding of iron, but on the ancient principle of sympathetic medicine, in which a cure is associated – often materially – with the body part or disease it treats. An excellent example of this is bloodstone.

From antiquity onwards, the terms ‘lapis haematites’ and ‘bloodstone’ were used to refer to minerals or precious stones spotted or streaked with red, or red in colour, used as pigments by artisans and medicinally in the treatment of hemorrhage, or as a charm against injury or bleeding. Most descriptions seem to refer either to what is now known as heliotrope, a form of chalcedony, or more commonly to hematite, an iron oxide. Whereas in hermetic alchemical texts ‘blood’ often refers to the transforming arcanum, now commonly believed to be a form of mercury, bloodstone occurs predominantly in pharmacopeia and is clearly linked to blood because of its blood-like pigments. A quick test in my back yard shows how easy it is to yield ‘blood’ from bloodstone:

Grinding some chips of bloodstone gives a rusty red powder...
Grinding some chips of bloodstone gives a rusty red powder…
Result after adding some water.
Result after adding some water.

By the early eighteenth century, bloodstone was routinely listed in city pharmacopeia as a mineral that had to be stocked in the apothecary shop. Its association with and supposed influence on the blood was implied by its use in recipes for styptics, without reference to its iron-like nature. This does appear in more detailed sources in Latin though. The Amsterdam physician Stephen Blankaart for example described it in his 1701 Opera medica, theoretica, practica et chirurgica (Volume 1) as ‘dark red stone, like the name perhaps suggests coagulates the blood. It appears in long streaks, like wood, and can be split into sharp needles. It is found in the veins of iron mines and can be consumed by rust.’ 

Recipe for 'cookies' to cure excessive periods and bleeding hemorrhoids, consisting mainly of red ingredients. From Wouter van Lis's Pharmacopoea.
Recipe for ‘cookies’ to cure excessive periods and bleeding hemorrhoids, consisting mainly of red ingredients. From Wouter van Lis’s Pharmacopoea.

A clear example of how bloodstone was understood and applied by early modern apothecaries can be found in Wouter van Lis’s bilingual 1747 Pharmacopoea Galeno-Chemico-Medica, which gives information in both Latin and Dutch on the same page.[1] Van Lis gained a doctorate in medicine from Utrecht University in 1745 and probably authored this book to capitalize on his previous experience as an apothecary while he set up a practice as physician in another city.

Van Lis lists Bloodstone as a semi-metal, but he also refers to the origins of its name: ‘Bloodstone has a Rock- Earth- and Metal-like nature. Because of its paint that resembles blood, or because it is a styptic, it is called Bloodstone.’ In the chapter ‘Medicinal biscuits and stones,’ two recipes are listed for cookies containing bloodstone: they are said to cure heavy menses and bleeding haemorrhoids, as well as bloody stool. These two recipes are clearly based on sympathetic rather than chemical principals; they contain predominantly red ingredients, like coral and red flowers.

Ironically, anaemia caused by iron deficiency is still the most common nutritional health problem in the world today. I was fascinated to learn that health researchers are battling anaemia in rural Cambodia with reusable ‘lucky iron fish’ that are added to boiling soup or rice. The small amounts of iron released during cooking ensure the sufficient intake of iron. A vital part of the success of the ‘fish’ is its shape: fish is both a staple in the local diet, and a symbol of luck in Cambodian culture. Not exactly sympathetic medicine in the early modern sense, but this shows how important cultural understandings of materiality still can be in ensuring the correct use of medicinal substances and dietary supplements.

Just one final note–although iron, especially in small amounts, is essential and one of the more harmless metals for humans, an overdose can be poisonous. Like always, the dose makes the poison.

[1] Van Lis, Wouter, Gualtheri van Lis Pharmacopoea Galeno-Chemico-Medica… = Meng- Schei- … / Wouter van Lis Meng- Schei- En Geneeskonstige Artseny-Winkel (Amsterdam: Jan Morterre, 1747).