American Paradise : The World of the Hudson River School by John K. Howat

By John K. Howat

The superb catalog of the exhibition prepared through the Metropolitan Museum. The well-written essays, by means of Met curators, chart the 19th-century upward push and fall of the 1st local institution of panorama portray. The catalog comprises many of the recognized and lots of lesser-known Hudson River photos, mentioned intensive for either experts and generalists. The publication is well-organized and well-indexed, and, whereas now not breaking nice new flooring, is extremely advised. The plates are in general solid.

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A. Boot, op. cit. (note 23), where an analysis is given of the diary of Aleida Leurink (1682-1]55), daughter of the linen-factor Jan Leurink. Although she was the wife of a minster (in the village of Losser, Twente), she was commissioning weavers and trading canvas on a small scale. 21 V. Schaible, 'Die Gemaldeiibertragung. Studien zur Geschichte einer "klassischen Restauriermethode"', Maltechnik/Restauro 89 (1983), pp. 96- 12 9. 22 The common use made of X-ray negatives can be explained by the fact that areas where white lead has been applied show up light in the radiograph, which makes for easy legibility.

The production of large-size portraits and history pieces, starting in the early Amsterdam years, thus explains the frequency with which Rembrandt used canvases from 1631 onwards. 2 See Volume I, p. XII and cat. exh. Rontgenonderzoek van de oude schilderv'en in het Centraal Museum te Utrecht (by M. E. Houtzager, M. Meier-Siem, H. ]. de Smedt), Utrecht 1967, pp. 6163. * an absence of cusping, that a painting like this had been reduced by later hands on the side or sides in question? Research in the area of fabric supports has been less extensive than the study of panels 3 • There have, of course, long been general notions as to the differences in the kinds of canvas used by various schools4 • Methods of stretching have occasionally been the subject of stud/, but those used in I7thcentury Holland have been looked at hardly at a1l 6 , and there have been only a few, limited attempts at a systematic examination of the types of canvas occurring within the oeuvre of a single artise.

No. 18) is painted on a striped twill canvas (for a reproduction see M. K. Talley, Portrait painting in England: Studies in the technical literature bifore 1700, 1981, fig. 24). 33 Cases where two warp threads are crossed by one weft thread, as one sometimes finds nowadays with painters' canvas, were not found with I 7th- century canvases. 34 Our measurements were carried out with a Leitz thread counter (6 x magnification), each time over 2cm. Depending on the number of available X-rays this was done 6 to more than 20 times in each direction.

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