Welcome back, readers, to another issue of Materia: Journal of Technical Art History! As Materia enters its fifth year of existence (can you believe it?!), this issue further broadens our exploration of what constitutes technical art history, showcasing articles that apply a technical lens to stained glass, decorative plaster, and architectural drawings as well as a theoretical exploration of the conservation of Futurist artworks. We are also pleased to debut our first translated article.
In Pride of the Last Peacock: A Look at John La Farge’s Final “Peacock Window,” Amanda Chau shares her observations about an important, experimental window created by John La Farge at the end of his life. Through careful examination of this most personal work, Chau offers fresh insights into La Farge’s creativity and experimentation.
The Coloured Edges of de Stijl: A Conservator’s Perspective on Artworks by Van Eesteren and Van Doesburg presents a conservation-driven investigation of the colored frames on nine mounted floor plans by architect Cornelis van Eesteren and artist Theo van Doesburg. As these frames had not been subject to material analysis prior to this study, Jurjen Munk provides a thorough technical examination, the results of archival and provenance research, and analysis of the exhibition history of these unique objects. The study reconstructs the material biography of the works, establishing the colored frames’ authenticity and their conceptual significance in light of the principles and ideals of the De Stijl movement.
Plaster Decoration: The Stucco Makers from Southern Switzerland at Work offers a comprehensive technical analysis of stucco production in the southern Swiss region of Canton Ticino during the sixteenth and seventeenth centuries. Utilizing archival research, technical literature, on-site visual examination, material analysis, and the creation of replicas to reconstruct historical stucco-making practices, Giacinta Jean and Alberto Felici uncover variations in both material composition and methods among different stuccatori and highlight the technical sophistication of stucco as a medium. By focusing on the material-technical aspects of plasterwork, their research demonstrates how practical knowledge and craftsmanship were pivotal in shaping early-modern stucco programs. The findings also lay the groundwork for research into the broader body of work by Ticenese stucco masters, who were active across Europe during this period.
In The Adventure of a Feather, a Glass Ball, and a Seahorse: Methodological Reflections on the Material History of Futurist Artworks, Maria Elena Versari explores methodological perspectives that stem from her archival exploration of the conservation history of a Futurist artwork previously housed in a distinguished American collection. The article is published here in both Italian and English.
Lastly, we return with our readers’ favorite segment, Voices from the Field, this time featuring the perspectives of scholars Jørgen Wadum and Sally Woodcock, who reflect on their careers and expertise through a discussion of their backgrounds in conservation, archival research, and the integrated study of art objects.
Many thanks to all of our authors and peer reviewers. We couldn’t have done it without you!
Happy reading!
Lucia Bay
Courtney Books
Bianca Garcia
Emma Jansson
Caroline Kirmer
Sami Norling
Cynthia Prieur
Julie Ribits
Roxane Sperber, lead editor
Morgan Wylder