Volume 43, Issue 4

“A very curious series of paintings in tempera on leather… are to be found at Buckingham Palace.” (Blunt 1946, 267). The 2017 Royal Collection Trust exhibition ‘Canaletto and the Art of Venice’ necessitated the examination and conservation treatment of eight paintings by the artist Marco Ricci (1676–1730). Marco’s artworks were unusually catalogued as ‘tempera on kidskin leather’, however it became apparent that internationally widespread confusion and inconsistency existed in the cataloguing of these artworks, complicating the understanding of these ‘curious’ paintings and the development of a conservation treatment approach. As in-depth material analysis was not possible, multi-collection and art historical research were combined with close observation to better understand the material nature and condition of this unusual group of paintings. The Royal Collection’s group of Marco Ricci paintings on leather is the largest in existence, with all 32 artworks presented in their original frames and it is suggested here that some exist in their original mounted format. This group is therefore the basis of much of the author’s current understanding. Despite presenting a consistent framed visual appearance, the project unearthed surprising variation amongst the Royal Collection works, serving to significantly supplement previous understanding of these paintings.

This article gives an overview over the development of gouache painting – from Flemish Waterverfschilderij , Lenten cloths ( tüchlein paintings), miniature paintings, and landscape gouache in “heroic” and “rustic” styles to the landscape veduta of Alpine sceneries. The – often confusing – usage of the term gouache will be discussed and traced back in history, leading to a clear definition of our present-day conception. The findings are based on the study of art technological sources as well as observations of gouache paintings from a variety of different artists including Hans Bol, Marco Ricci, James Stuart, and Johann Ludwig Aberli. The author’s own experiences with gouache painting will also feed into the portrayal of a technique which in the past has often been disparaged and is underrepresented in the art technological research.