DEFINITION
The substances or materials used in the creation of a work
of art or architecture, as well as any production or manufacturing
techniques, processes, or methods incorporated in its fabrication.
This information includes a description of both the materials
used to create the work and the way in which they were put
together.
SUBCATEGORIES
GENERAL DISCUSSION
A description of the materials and technique is core;
it is strongly recommended to also index the materials and
technique with controlled vocabulary.
What are materials and techniques?
The subcategories in this section identify the substances
and materials of which a work of art or architecture is composed.
It also identifies the techniques and methods of production
used to create the work. For groups of works, it describes
all the materials and techniques used to create items in the
group, or it describes the most important or most typical
materials and techniques evident in the group. Where applicable,
the "role" of a material may be distinguished as medium
(e.g., oil paint, watercolor, graphite) or as support
(e.g., canvas, oak panel, laid paper).
Specificity and exhaustivity
Specificity and exhaustivity are relevant for both the free-text
description and the indexing fields. Specificity refers
to choice of a term expressing the specific nature of a material
(e.g., poplar) over a more general term (e.g., wood).
The guidelines in this section recommend recording the most
specific term that is appropriate. However, the degree of
detail or specificity with which a material or technique
is described will depend upon the knowledge and expertise
of the cataloger and the expertise of the intended end-users.
For the indexing fields, an additional consideration is the
ability to retrieve by broader contexts.If your data
does not utilize a thesaurus which may be used for retrieval,
you must enter both the specific term and its broader context(s).
For example, if you cannot retrieve by the broader wood,
in order to achieve adequate retrieval, you will have to enter
both the specific poplar and the broader context wood,
in the work record.
Exhaustivity refers to thoroughness of analysis and
number of terms assigned for description and indexing. Thoroughness
and a high level of exhaustivity are preferred over a cursory
analysis. For example, if the information is available, laminated
copper and gold with inlays of shell and mother of pearl would
be preferred over metal with inlays (which is both
less exhaustive and less specific than the first description).
However, the level of exhaustivity may be limited by the availability
of information to the cataloger and the constraints of time
and cataloging priorities of the institution.
Uncertainty
If analysis or documentation is inconclusive or impossible,
or there is scholarly uncertainty about the physical attributes
of a work, this should be indicated in the free-text DESCRIPTION
field (e.g., oil or oil and tempera on panel, or acrylic
paint, probably applied with a palette knife). Such uncertainty
may require that the multiple possibilities be indexed in
the controlled fields. For example, if it is uncertain which
of two materials was used, they should both be indexed in
the controlled indexing fields for retrieval.
Uses
It is fundamentally important for researchers to know the
materials of which a work is composed. In addition, the material
of the support is often used as a traditional way of
organizing materials, especially in museum collections. For
example, works on paper are generally organized separately
from works on panel or canvas. Researchers may be interested
to know the use of different media at specific stages in the
process of creating a work of art. In studying the creative
process, a researcher may wish to examine the use of particular
combinations of materials in the evolution of some works.
For example, black chalk on blue laid paper was often
used for portrait studies. The availability of new materials
often influences the design process, such as the use of bent
plywood or tubular steel in early twentieth-century furniture.
Materials and technique may play a role regarding the question
of the attribution of a work to a particular "hand." Because
an artist will handle materials in different ways, and because
different modes of expression are more appropriate to one
technique than another, grouping works by these characteristics
is useful for purposes of comparison. For example, consider
the difference in expressive character between a brush-and-ink
drawing and a pen-and-ink drawing.
Cataloging rules
For the subcategories in this section, basic recommendations
and discussion are provided below. For a fuller, more prescriptive
set of cataloging rules for some of the subcategories, see
Chapter 3: Physical Characteristics in Cataloging
Cultural Objects (CCO), which deals with a critical subset
of the CDWA.
RELATED CATEGORIES and ACCESS
The subcategory MATERIALS AND TECHNIQUE - DESCRIPTION is
required. Providing access to this information through indexing
the pertinent information in the appropriate subcategories
is strongly recommended.
The means by which a work was assembled or created, including
a detailed discussion of the relationship of one pigment or
material to another, should be recorded in FACTURE. Detailed
scientific examination of the work can be described in CONDITION/EXAMINATIONHISTORY.
Physical changes that took place after the object or work
was created or manufactured should be recorded under CONDITION/EXAMINATION
HISTORY, except for those resulting from conservation or restoration
treatment, which should be recorded in CONSERVATION/TREATMENT
HISTORY. Specific patterns or shapes formed with the materials
should be noted in the category PHYSICAL DESCRIPTION.
The information in the subcategories of MATERIALS AND TECHNIQUES
may be used to formulate queries in association with other
characteristics of a work. This will make it possible, for
example, to locate Venetian works on blue paper, Flemish etchings
from the eighteenth century, or trois-crayon drawings
that were not made in France.
7.1. Materials/Techniques Description
DEFINITION
An indication of the substances or materials used in the
creation of a work, as well as any implements, production
or manufacturing techniques, processes, or methods incorporated
in its fabrication, presented in a syntax suitable for display
to the end-user and including any necessary indications of
uncertainty, ambiguity, and nuance. For works on paper, descriptions
of watermarks may also be included. (For marks applied to
the work or support by the artist or subsequently by another
person, see INSCRIPTIONS.)
EXAMPLES
- oil on canvas [Figure
17]
- egg-tempera paint with tooled gold-leaf halos on panel
[Figure
28]
- oil or oil and tempera on panel transferred to canvas
[Figure
8]
- distemper (thin washes of pigment in animal glue) on
linen [Figure
24]
- pen and brown ink and black chalk on paper [Figure
30]
- silverpoint, with white heightening, on silver-gray
prepared paper
- red and black chalk and brown and reddish wash, squared
in black chalk [Figure
27]
- pen and brown (iron-gall) ink and wash, graphite, watercolor,
gouache and opaque white, with gum arabic and scraping out,
on gray wove paper
- aqua tint over an etched outline
- pen and sepia ink on laid paper; watermark: star
in circle with cross
- etching, engraving, and drypoint on laid paper
- gelatin silverprint [Figure
12]
- bronze
- iron, artificially oxidized
- Carrara marble on granite base
- engraved and polished dark green agate [Figure
29]
- marble with polychromy
- Volkswagen bus with 20 sledges, each carrying felt, fat,
and a flashlight [1]
- gold plate over silver, with semiprecious stones
- leaded and stained glass
- wool and cotton
- veneered with mahogany, with gilt bronze mounts
[Figure 13]
- gilded maple
- painted and glazed earthenware
- soft-paste porcelain, colored enamel decoration, gilding
[Figure
1]
- boulle marquetry in brass and tortoise shell
- wooden frame, adobe, with red tile roof
- limestone with sandstone flying buttresses
- steel frame with steel and glass panels
- "The stage was in the cellar, and all the lights
in the shop were out; groans rose from a trap-door. Another
joker hidden behind a wardrobe insulted the persons present...
[T]he Dadas, without ties and wearing white gloves, passed
back and forth... André Breton chewed up matches,
Ribemont-Dessaignes kept screaming, 'It's raining on a skull,'
Aragon caterwauled. Philipe Soupault played hide-and-seek
with Tzara, while Benjamin Péret and Charchoune shook
hands every other minute. On the doorstep, Jacques Rigaut
counted the automobiles and the pearls of the lady visitors..."
[2]
DISCUSSION and GUIDELINES
Required: Record the matter, materials, or
substances used to create a work, and the processes, techniques,
and implements used to apply or form the materials, as appropriate.
This subcategory supplies a description of the technique,
media, and support used in the creation of the work. When
necessary, clarify the relationship between the materials
and the techniques used to apply them.
Technique encompasses the instruments and methods
used in the application of materials. Materials are
the substances of which the work is composed. In many forms
of art, a distinction is made between materials used as the
media, and materials used as the support. Medium
is the material applied to the support. Support is the surface
upon which media have been applied. For example, for a drawing
described as pen and brown ink and black chalk on paper
[Figure
30], pen is the instrument, ink and black
chalk are the media, and paper is the support.
Form and syntax
In most cases, express terms for materials and techniques
in the singular form. Where appropriate, use the plural form
of the term instead of the singular; use terminology that
reflects the characteristics of the work being cataloged.
For example, if several feathers have been applied as a material,
use the plural term feathers (e.g., beaded leather
band with three eagle feathers). Do not use abbreviations.
Use lower case except when a material is distinguished by
a proper noun (e.g., Carrara marble) or is known by
its brand name (e.g., Formica™). Do not use brand
names unless the material is known exclusively or primarily
by that term.
Use natural word order. List medium or media first, followed
by the support (if pertinent). If there is no support, as
with sculpture, list only the medium. If more than one technique
or medium was used, list them in the sequence of their application,
if known (e.g., graphite, pen and black ink, with gray
wash) or the order of their importance or prominence (e.g.,
in the following example, the media of the image are more
important than the squaring, which was applied first: red
and black chalk and brown and reddish wash, squared in black
chalk [Figure
27]).
TERMINOLOGY/FORMAT
Free-text: This is not a controlled field.
Index the materials and techniques in the subcategories below.
RELATED CATEGORIES and ACCESS
In order to have access to the information in this description,
index this free-text note with the other MATERIALS AND TECHNIQUES
subcategories. If multiple parts of the work require separate
materials and techniques or if you are recording media and
support separately, repeat the EXTENT subcategory with repeating
sets of the other indexing subcategories. For example, colors,
such as red, blue, or pale green, are a distinguishing
characteristic of materials or media. Since color can be associated
with either a medium and a support, as in the case of red
ink and blue paper, a link must be maintained between
these terms to maintain this meaning.
7.2. Materials/Techniques Flag
DEFINITION
Flag for distinguishing materials from techniques.
EXAMPLES
material
technique/implement
DISCUSSION and GUIDELINES
Optional: Use a flag to indicate if the indexing
term refers to a material or to a technique/implement.Use
lower case.
Materials are physical materials of which the work
is composed, including both the media and any support to which
the media are applied (e.g., ink and paper are
materials). Techniques/implements are the activities
or tools used in the creation process (e.g., engraving
is a technique and burin is an implement).
TERMINOLOGY/FORMAT
Controlled list: Use controlled terms material
and technique/implement.
7.3. Materials/Techniques Extent
DEFINITION
The specific part of a work composed of a certain material
manufactured or created using a particular technique.
EXAMPLES
overall
surface
statue
base
lid
backing board
lower panel
glaze
DISCUSSION and GUIDELINES
Optional: As necessary, record the part of
the work to which the media or technique was applied.Use lower
case.
Works of art can be made up of many different parts, each
composed of different materials, and made using different
techniques. Recording the extent of the use of a particular
material or technique clarifies this relationship.
TERMINOLOGY/FORMAT
Controlled list or authority: Given that the
terminology for EXTENT typically will comprise a relatively
short list, you may control this subcategory with a simple
controlled list. Alternatively, link it to the GENERIC CONCEPT
AUTHORITY.
Use controlled vocabulary: AAT (especially Objects facet),
ACRL/RBMS Binding Terms, ACRL/RBMS Genre Terms, ACRL/RBMS
Paper Terms, ACRL/RBMS Printing and Publishing Evidence, Base
Mérimée: Lexique, the British Archaeological
Thesaurus, Glass' Subject Index for the Visual Arts, ICOM
Costume Terms, Index of Jewish Art, ISO 5127-3: Iconic Documents,
ISO 5127-11: Audio-visual Documents, LC Descriptive Terms
for Graphic Materials, Moving Image Materials, Revised Nomenclature,
Reyniès' Le Mobilier Domestique, and Tozzer Library
Headings.
7.4. Materials/Techniques
Role
DEFINITION
The role indicating if the terms refer to to a medium or
support for materials, or to a technique or implement for
techniques/implements.
EXAMPLES
medium
support
technique
implement
DISCUSSION and GUIDELINES
Optional: These flags refer to the indexing
terms that are being entered for technique, medium, and support.
For materials, record a term indicating if the material
is a support or medium. It is particularly important to distinguish
between medium and support when cataloging works that are
primarily two-dimensional, where materials are applied to
a surface to create an image
Medium is the material applied to the support. Examples
of medium include the following: ink, paint, pastels,
watercolor, charcoal, vernis Martin, mother of pearl, egg
tempera, oil paint, gold leaf, iron gall ink, bronze, gouache,
Conté crayon™, deer bone, cinnabar, amethyst,
graphite. In other words, the materials applied over
the support to create an image are the media (e.g., oil
paint or chalk). For sculpture, architecture,
and other three-dimensional works, any material of which
the work is made is typically called support, rather
than medium.
Support is the surface upon which media have been
applied. Examples of support include the following: canvas,
oak panel, laid paper, wove paper, wood, copper, glass,
marble, poplar, linen, burlap sacking, Foam-Cor™, fiberglass.
The support is the material on the surface of which an image
resides, as in paintings, drawings, prints, or photographs
(e.g., wood, canvas, or paper). There may
be primary and secondary supports (as with a sheet of paper
mounted to cardboard).
For techniques/implements, record an indication of
whether the terms refer to the technique (e.g., drawing,
engraving ) or the implement (e.g., pen, burin).
Form and syntax
Use lower case.
TERMINOLOGY/FORMAT
Controlled list: Use the following terms: medium,
support, technique, implement .
7.5. Materials/Techniques Name
DEFINITION
For materials, the names of the matter, material, or substance
used to create the work of art or architecture. For techniques/implements,
the names of the means, method, process, or technique by which
a material was used in the creation of a work, or the name
of any implement or tool used to create the work using the
process or technique.
EXAMPLES
For materials
wood
glass
marble
poplar
charcoal
vernis Martin
laid paper
mother of pearl
egg tempera
paint
oil paint
gold
iron gall ink
|
bronze
ink
gouache
canvas
Conté crayon [TM]
Foam-Cor [TM]
burlap sacking
deer bone
cinnabar
amethyst
fiberglass
Formica [TM]
the artist
|
For techniques/implements
drawing [Figure
27]
painting [Figure
28]
sculpting [Figure
11]
lost wax
stumping
pricking
carving
intaglio [Figure
29]
engraving
etching
gilding
weaving
chasing
tooling
aquatint
burnishing
coating
overpainting
montage
inlaidcollage
red figure
finger painting
underdrawing
drawing à deux crayons
stipple engraving
|
stumping
stencil
duplicatingimpasto
gelatin-silver print [Figure
12]
assemblage
chromogenic color process
half-timber construction
balloon frame
wattle and daub
board and batten construction
prefabrication
roulette
compass
chisel
brush
eraser
chain saw
palette knife
felt tip pen
jacquard loom
burin
sable brush
scorper
pen
pencil
fingers
|
DISCUSSION and GUIDELINES
Optional: Record terms indexing the technique
used to create the work or implements used to carry out the
technique and apply media. It is optional, but highly recommended,
to record the matter, materials, or substances utilized in
creating the work of art or architecture, and the methods
by which materials are utilized in creating art or architecture,
particularly when the process or technique is not apparent
from the materials used. For example, if paint was applied
by a technique other than painting, it is more important
to record that technique than if paint were applied by painting.
If the implement is not apparent from the materials used,
record the implement (e.g., if oil paint is applied with a
palette knife rather than the more typical paint brush, it
would be especially important to record palette knife).
Index all techniques, implements, media, and supports used
to create the work by repeating this subcategory.
Specificity
Use the most specific terms that are appropriate (e.g., use
gluing rather than the more general adhesion,
if known; use stylograph rather than the more general
pen, if known). The identification of materials is
sometimes a matter of dispute which may require a technical
examination. Uncertainty must be accommodated (e.g., probably
oil and tempera on canvas) in Materials/Techniques
Description.
Form and syntax
For materials and implements, typically use singular nouns.
For techniques, use terms in the gerund or noun form according
to need and usage (e.g., abrasion, tuning, weaving, glassmaking,
cartography, wattle and daub construction). Do not
use abbreviations. Use lower case except when the term includes
a proper noun. Do not use brand names unless the process is
known exclusively or primarily by that term. For English-language
records, use terms in English except where the concept is
known by a term in another language; use diacritics as appropriate
(e.g., décollage).
Given that materials may be fashioned, formed, or applied
to a work of art or architecture in many different ways, with
greatly varying results, an identification of the processes
or techniques used by an artist or architect is important
in understanding the work and how it was created. The identification
of an artist's techniques may involve conjecture and opinion.
A technical analysis may be necessary in order to identify
a particular process or technique. Identification of process
or techniques, printmaking or photography, is a skill that
requires connoisseurship or technical analysis. The process
by which an object, work, or image was created may not be
known or may be under dispute.
TERMINOLOGY/FORMAT
Authority: Control this subcategory with the
GENERIC CONCEPT AUTHORITY. Sources of controlled terminology
include the following: AAT (especially the Materials hierarchy,
Processes and Techniques, and Tools and Equipment hierarchies),
Revised Nomenclature, ACRL/RBMS Binding Terms, CRL/RBMS
Paper Terms, the Index of Jewish Art, and the British Archaeological
Thesaurus.
7.6. Material Color
DEFINITION
The color of the material of which a work is composed.
EXAMPLES
vivid yellow
cerulean blue
red
light green
black
white
strong yellowish brown
pale purple
DISCUSSION and GUIDELINES
Optional: Record a term specifying the color,
tint, or hue of the material, particularly if color is an
unusual or important characteristic of the work. Use lower
case.
The identification of color is subjective, and the common
vocabulary used to describe color may be vague. It is recommended
to compare the work to a standard color chart in order to
achieve consistency in this information.
If the color has iconographic or symbolic meaning, record
it also in SUBJECT MATTER. This subcategory specifies the
color of a material that is used in the creation of the work.
TERMINOLOGY/FORMAT
Authority: Control this subcategory with the
GENERIC CONCEPT AUTHORITY, which can be populated with terminology
from the AAT Color hierarchy, particularly using descriptors
for color names that are drawn from the Universal Color Language
(UCL, U.S. Department of Commerce, National Bureau of Standards)
or the Munsell color system.
7.7. Material Source Place
DEFINITION
The geographic place from which the materials used to create
the work originated.
EXAMPLES
Siberia
China
Carrara (Tuscany, Italy)
North Africa
DISCUSSION and GUIDELINES
Optional: Record the name of the geographic
place from which the material originated.
Form and syntax
Capitalize place names. Display places with broader contexts.
For rules regarding place names, see PLACE/LOCATION AUTHORITY
- PLACE NAMES.
Identifying the source of a material may aid in establishing
an attribution of a work to one artist or another, or it may
confirm a provenance or date for the object. The sources and
places of origin of materials can be found in specialized
texts that deal with the commerce and history of materials.
TERMINOLOGY/FORMAT
Authority: Control this subcategory with the
PLACE/LOCATION AUTHORITY, which can be populated with terminology
from the TGN and LCSH.
7.8. Watermarks
DEFINITION
A description of marks inherent in or applied to the material
before it was fashioned into the work, including watermarks
and stationers' stamps or marks.
EXAMPLES
- foolscap
- dog with a coat of arms in a circle
- snake with a ring
- letters EAL in orb with cross
- fleur de lys above a banded shield; countermark: STACE
[3]
- Florentine lily in double circle with F below and CAC
above
- crescents in a circle (possibly arms of Piccolomini)
- indistinct (probably walking man) [4]
- star in circle with cross (like Briquet 6088)
- watermark: none visible through lining [5]
DISCUSSION and GUIDELINES
Optional: Describe the watermarks, stationers'
stamps, and other marks inherent in or applied to the material
before it was fashioned into the work of art, if known.
Form and syntax
Use lower case. Capitalize proper names.
If the mark corresponds to published sources (e.g., dictionaries
of watermarks), this should be indicated.
Alternatively, include the watermark or other mark and its
location on the work in the MATERIALS AND TECHNIQUES - DESCRIPTION,
as warranted (e.g., engraving on laid paper, watermark
lower left: foolscap). Whichever location is chosen for
describing watermarks, be consistent.
This subcategory may be used for works on paper, as well
as for other works, if appropriate. Marks are a characteristic
of the material, generally a paper support; they are typically
not a part of the artistic creation.
TERMINOLOGY/FORMAT
Free text: This subcategory is free text. If
retrieval is required, index it with the subcategories below.
7.8.1. Watermark
Identification
DEFINITION
An identification of the watermark type or name.
EXAMPLES
foolscap
Briquet 6088
DISCUSSION and GUIDELINES
Optional: Record a term or reference to a watermark
authority. Use lower case, but capitalize proper names.
If a watermark authority is cited, list the citation for
the authority in the CITATIONS subcategory.
TERMINOLOGY/FORMAT
Controlled list: Control this subcategory with
a controlled list of standard watermark descriptions based
on published catalogs and watermark dictionaries.
If retrieval on watermarks is important, it is recommended
to maintain a full-blown authority of watermarks rather than
a controlled list. In an authority, the IDENTIFICATION and
DATE subcategories described here in the CDWA could be combined
with fields for geographic distribution, paper producer, measurements,
and an image (beta-radiograph, photograph or negative, or
tracing) of the watermark. See the data dictionary described
by the Watermark Archives Initiative, cited below.
For bibliographies regarding sources of standard descriptions
of watermarks, beta-radiography, and related topics, see the
following sites:
Allison, Robert W. Archive of Watermarks and Papers
in Greek Manuscripts. Lewiston, Maine: Bates College,
1996. http://abacus.bates.edu/Faculty/wmarchive/wm-initiative/bibliography.html
(4 August 2005).
Ash, Nancy E. National Gallery of Art. "Recording
Watermarks by Beta-Radiography and Other Means." Book
and Paper Group Annual: 1 (1982) http://aic.stanford.edu/sg/bpg/annual/v01/bp01-02.html
(4 August 2005).
Heaton, Gabriel. Centre for the Study of the Renaissance.
LIMA: Watermark Databases. Warwick: University of
Warwick, 2005. http://www2.warwick.ac.uk/fac/arts/ren/publications/lima/paper/describing/databases/
(4 August 2005).
Watermark Archives Initiative: International Paper Registry.
Lewiston, Maine: Bates College, 2004-. http://watermarkarchive.org/
(4 August 2005).
7.8.2. Watermark Date
DEFINITION
The date or range of dates during which a particular mark
in a material was in widespread use.
EXAMPLES
1646
ca. 1740 - ca. 1752
before 1574
DISCUSSION and GUIDELINES
Optional: Record the date or range of dates
when the mark found on the work was in use.
Form and syntax
Follow the applicable rules for display dates in CREATION
- CREATION DATE.
This information assists in providing a date for the work
itself, and in authenticating it. The information in this
subcategory may be found in the standard sources that catalog
marks on works, or assigned on the basis of specialized knowledge.
TERMINOLOGY/FORMAT
Free-text: This is not a controlled field.
Maintain consistent capitalization, punctuation, and syntax
where possible. Index the dates in the controlled EARLIEST
and LATEST DATE subcategories.
7.8.2.1. Earliest Date
DEFINITION
The earliest date on which the watermark was used.
EXAMPLES
1646
1730
DISCUSSION and GUIDELINES
Optional: Record the earliest year indicated
by the display DATE.
Form and syntax
Always record years in the proleptic Gregorian calendar in
the indexing dates fields. It is optional to record EARLIEST
DATE; however, if you record a value here, you must also record
LATEST DATE. For rules, see CREATION - CREATION DATE - EARLIEST
DATE.
TERMINOLOGY/FORMAT
Controlled format: Date information must be
formatted consistently to allow retrieval. Local rules should
be in place. Suggested formats are available in the ISO Standard
and W3 XML Schema Part 2.
ISO 8601:2004 Representation of dates and times. International
Organization for Standardization. Data Elements and Interchange
Formats. Information Interchange. Representation of Dates
and Times. Geneva, Switzerland: International Organization
for Standardization, 2004.
XML Schema Part 2: Datatypes, 2001. www.w3.org/TR/xmlschema-2/.
7.8.2.2. Latest Date
DEFINITION
The earliest date on which the watermark was used.
EXAMPLES
1646
1762
DISCUSSION and GUIDELINES
Optional: Record the latest year indicated
by the display DATE.
Form and syntax
Always record years in the proleptic Gregorian calendar in
the indexing dates fields. It is optional to record LATEST
DATE; however, if you record a value here, you must also record
EARLIEST DATE. For rules, see CREATION - CREATION DATE - EARLIEST
DATE.
TERMINOLOGY/FORMAT
Controlled format: Date information must be
formatted consistently to allow retrieval. Local rules should
be in place. Suggested formats are available in the ISO Standard
and W3 XML Schema Part 2.
ISO 8601:2004 Representation of dates and times. International
Organization for Standardization. Data Elements and Interchange
Formats. Information Interchange. Representation of Dates
and Times. Geneva, Switzerland: International Organization
for Standardization, 2004.
XML Schema Part 2: Datatypes, 2001. www.w3.org/TR/xmlschema-2/.
7.9. Performance Actions
DEFINITION
An identification and description of any actions to be performed
during the execution of the work, used primarily for performance
art.
EXAMPLES
dance
recitation
painting
standing
walking
clapping
watching
screaming
growing
melting
sleeping
pouring
rotting
laughing
DISCUSSION and GUIDELINES
Optional: Record a term describing any actions
that are incorporated into the work. Use lower case.
Link actions to the materials or techniques used in association
with them as necessary. It is particularly important to record
ACTIONS for new media and performance art.
The information in this subcategory may be determined on
the basis of the description of the materials and techniques
of the work. When a work is not well documented, all the actions
that were incorporated into it may not be known. Uncertainty
should be described in MATERIALS AND TECHNIQUES - DESCRIPTION.
TERMINOLOGY/FORMAT
Authority: Control this subcategory with the
GENERIC CONCEPT AUTHORITY, which can be populated with terminology
from the controlled vocabularies named below. An authority
with hierarchical structure, cross referencing, and synonymous
terms is recommended.
Sources of terminology include the following: AAT Activities
facet, Garnier's Thesaurus iconographique, LC Thesaurus for
Graphic Materials, or ICONCLASS.
7.10. Remarks
DEFINITION
Additional notes or comments pertinent to information in
this category..
DISCUSSION and GUIDELINES
Optional: Record a note regarding the materials
and techniques used in creating the work. Use consistent syntax
and format. For rules regarding writing notes, see DESCRIPTIVE
NOTE.
FORMAT/TERMINOLOGY
Free-text: This is not a controlled field.
Use consistent syntax and format.
7.11. Citations
DEFINITION
A reference to a bibliographic source, unpublished document,
or individual opinion that provides the basis for the information
recorded in this category.
DISCUSSION and GUIDELINES
Optional: Record the sources used for information
in this category. For a full set of rules for CITATIONS, see
RELATED TEXTUAL REFERENCES - CITATIONS.
TERMINOLOGY/FORMAT
Authority: Ideally, this information is controlled
by citations in the citations authority; see RELATED TEXTUAL
REFERENCES.
7.11.1. Page
DEFINITION
Page number, volume, date accessed for Web sites, and any
other information indicating where in the source the information
was found.
DISCUSSION and GUIDELINES
Optional: For a full set of rules for PAGE,
see RELATED TEXTUAL REFERENCES - CITATIONS - PAGE.
FORMAT/TERMINOLOGY
Free-text: This is not a controlled field.
Use consistent syntax and format.
EXAMPLES
[The following examples demonstrate how medium, support,
implement, and color may be indexed separately. Note that
some institutions will not require separate indexing of these
characteristics.]
For paintings
[for a banner]
Materials/Techniques Description:
oil paint on linen canvas
Flag: material Role: medium
Name: oil paint
Flag: material Role: support
Name: linen canvas
Flag: technique/implement
Role: technique Name: painting
[for an altarpiece]
Materials/Techniques Description:
egg-tempera paint with tooled gold-leaf halos on panel
Flag: material Role: medium
Name: egg tempera | gold leaf
Flag: material Role:
support Name:wood panel
Flag: technique/implement
Role: technique Name: painting | gold tooling
[for a mural]
Materials/Techniques Description:
fresco
Flag: material Name: fresco
Flag: technique/implement
Name: fresco
painting
[for a painting on canvas]
Materials/Techniques Description:
oil on canvas, applied with brush and palette knife
Flag: material Role: medium
Name: oil paint |
Flag: material
Role: support Name:canvas
Flag: technique/implement
Role: implement Name: brush | palette knife
For drawings, watercolors, prints, photographs
[for a drawing]
Materials/Techniques Description:
silverpoint with chalk heightening on prepared paper
Flag: material Role: medium
Name: chalk
Flag: material Role:
support Name: prepared paper
Flag: technique/implement
Role: technique Name: silverpoint | heightening | drawing
[for a drawing, color is indexed]
Materials/Techniques Description:
pen and black ink and brown chalk on ivory-colored
laid paper
Flag: material Role:
medium Name: ink Color:
black
Flag: material Role:
medium Name: chalk Color: brown
Flag: material
Role: support Name:
laid paper Color: ivory
Flag: technique/implement
Role: technique Name: drawing
Flag: technique/implement
Role: implement Name: pen
[for a drawing on paper with a watermark]
Materials/Techniques Description:
pen and sepia ink on laid paper, watermark: star
in circle with cross (like Briquet 6088)
Flag: material
Role: medium Name: sepia
Flag: material Role:
support Name: laid paper
Watermark: star in circle with cross (Briquet
6088)
Flag: technique/implement
Role: technique Name: drawing
Citation: Briquet, C.-M. Les filigranes: dictionnaire
historique des marques du papier dès leur apparition
vers 1282 jusqu'en 1600. A facsimile of the 1907 edition
with supplementary material contributed by a number of scholars.
Edited by Allan Stevenson. Amsterdam: Paper Publications
Society, 1968, 6088.
[for a watercolor]
Materials/Techniques Description:
watercolor on Arches™ paper
Flag: material Role: medium
Name: watercolor
Flag: material Role:
support Name: Arches™
paper
Flag: technique/implement
Role: technique Name: painting
[for a modern print]
Materials/Techniques Description:
lithograph
Flag: material Role: medium
Name: ink
Flag: material Role:
support Name: paper
Flag: technique/implement
Role: technique Name: lithograph
[for a manuscript illumination]
Materials/Techniques Description:
etching, burin and drypoint on vellum
Flag: material Role: medium
Name: ink
Flag: material Role:
support Name: vellum
Flag: technique/implement
Role: technique Name: etching | drypoint
Flag: technique/implement
Role: implement Name: burin
[for a photograph]
Materials/Techniques Description:
albumen print
Flag: material Role:
support Name: albumen
paper
Flag: technique/implement
Role: technique Name: photography
[for a photograph]
Materials/Techniques Description:
glycerine-developed platinum print
Flag: material Role:
support Name: platinum paper
Flag: technique/implement
Role: technique Name: glycerine process | photography
For sculpture, three-dimensional objects
[for a modern sculpture]
Materials/Techniques Description:
bronze
Flag: material Role:
support Name: bronze
Flag: technique/implement
Role: technique Name: lost-wax process
[for an 19th-century sculpture]
Materials/Techniques Description:
white Carrara marble on gray granite base
Extent: statue
..Flag: material Role:
support Name: Carrara marble Color: white
..Flag: technique/implement
Role: technique Name: carving
Extent: base
..Flag: material Role:
support Name: granite
Color: gray
..Flag: technique/implement
Role: technique Name:carving
[for an African mask]
Materials/Techniques Description:
painted wood, with raffia, metal, and kaolin
Flag: material Role: medium
Name: raffia | metal | kaolin | paint
Flag: material Role:
support Name: wood
Technique Name: carving | sewing | gluing
| painting
For manuscripts, books
[for a pamphlet]
Materials/Techniques Description:
letterpress on pale yellow paper
Flag: material Role:
support Name:
paper
Flag: technique/implement
Role: technique Name: letterpress printing
[for a rare book]
Materials/Techniques Description:
etchings on paper, casebound
Flag: material Role: medium
Name: ink
Flag: material Role:
support Name: paper
Flag: technique/implement
Role: technique Name: etching | case binding
[for a manuscript]
Materials/Techniques Description:
ink and tempera on vellum (illuminations), leather
and silver (binding)
Extent: folios/illuminations
..Flag: material Role: medium
Name: ink | tempera
..Flag: material Role:
support Name: vellum
..Flag: technique/implement
Role: technique Name: calligraphy | painting
Extent: binding
..Flag: material Role:
support Name: leather
| silver
For ceramics, glass, jewelry, ojets d'art, furniture
[for a bowl]
Materials/Techniques Description:
terracotta
Flag: material Role:
support Name:
terracotta
Flag: technique/implement
Role: technique Name: coiling
[for a vase]
Materials/Techniques Description:
free-blown glass
Flag: material Role:
support Name:
free-blown glass
[for an amphora; repeat "Black-figure" as
a STYLE]
Materials/Techniques Description:
terracotta with Black-figure painting
Flag: material
Role: support Name: terracotta
Flag: technique/implement
Role: technique Name: throwing | vase painting | sintering
| Black-figure
[for a pedestal plate]
Materials/Techniques Description:
painted and glazed earthenware
Flag: material Role:
medium Name: paint | glaze
Flag: material Role:
support Name: earthenware
Flag: technique/implement
Role: technique Name:throwing
[for a necklace]
Materials/Techniques Description:
gold repoussé work
Flag: material
Role: support Name:
gold
Flag: technique/implement
Role: technique Name: repoussé
[for a snuff box]
Materials/Techniques Description:
laminated copper and gold with inlays of shell and mother
of pearl
Flag: material
Role: support Name:
copper | gold
Flag: material
Role: support Name:
shell | mother of pearl
Flag: technique/implement
Role: technique Name: laminating | inlay | soldering
[for a chest]
Materials/Techniques Description:
maple
Flag: material Role:
support Name: maple
[for a sofa]
Materials/Techniques Description:
oak, veneered with rosewood, bronze mounts; horsehair
upholstery
Flag: material Role:
support Name: oak
| rosewood | bronze | horsehair
Flag: technique/implement
Role: technique Name: veneering
For architecture
[for an office building]
Materials/Techniques Description:
steel frame with glass panels
Flag: material
Role: support Name: steel | glass
Flag: technique/implement
Role: technique Name: steel frame | glass curtain wall
[for a house]
Materials/Techniques Description:
wood frame and adobe, with red tile roof
Extent: frame
..Flag: material
Role: support Name:
wood
Extent: walls
..Flag: material
Role: support Name: adobe
Extent: roof
..Flag: material Role:
support Name: tile
..Flag: technique/implement
Role: technique
Name: wood
frame
[for a church]
Materials/Techniques Description:
Greek cross plan, limestone and sandstone, bearing
masonry
Flag: material Role:
support Name: limestone | sandstone
Flag: technique/implement
Role: technique Name: Greek cross plan | load-bearing walls
| vaulting | buttressing
For textiles, clothing
[for a carpet]
Materials/Techniques Description:
wool and silk (pile), cotton (warp and weft), with
symmetrical knots
Extent: pile
..Flag: material Role:
support Name: wool | silk
Extent: warp and weft
..Flag: material
Role: support Name:
cotton
Flag: technique/implement
Role: technique Name: weaving | symmetrical knots
[for an apron ]
Materials/Techniques Description:
linen
Flag: material
Role: support Name:
linen
Flag: technique/implement
Role: technique Name: weaving | sewing
[for a mola]
Materials/Techniques Description:
cotton appliqué
Flag: material Role:
support Name:
cotton
Flag: technique/implement
Role: technique Name: appliqué
[for a vestment]
Materials/Techniques Description:
silk satin with stencil-dyed pattern, embroidered
in gold thread
Flag: material Role:
support Name: silk
Flag: material Role:
medium Name: dye | gold thread
Flag: technique/implement
Role: technique
Name: satin
weaving | stencil-dyed | embroidery
[for a coat, color is indexed]
Materials/Techniques Description:
blue Chinese silk with red samite appliqués
Extent: overall
..Flag: material Role:
support Name: Chinese
silk Color: blue
..Flag: technique/implement
Role: technique
Name: weaving
| sewing
Extent: appliqués
..Flag: material
Role: support Name:
samite Color: red
For film, video
[for a videotape]
Materials/Techniques Description:
black-and-white videotape with sound
Flag: material
Role: support Name:
videotape Color: black-and-white |
sound
[for an animation cel]
Materials/Techniques Description:
nitrate (cels); courvoisier on wood veneer background
Flag: material Role:
support Name: nitrate
film | wood veneer
Flag: technique/implement
Role: technique Name: courvoisier
For new media, performance art, installations
[for performance art]
Materials/Techniques Description:
wooden stage, phonograph, one living human actor,
metal chair
Flag: material
Role: support Name:
wooden stage
Flag: material Role:
medium Name: phonograph |
actor | metal chair
Flag: technique/implement
Role: technique
Name: installation
| performance
[for an installation]
Materials/Techniques Description:
four-channel video projection with sound
Flag: material
Role: support Name:
video | sound | audiovisual equipment
Flag: technique/implement
Role: technique
Name: installation
| projection
[for a digital image]
Materials/Techniques Description:
digital image
Flag: material
Role: support Name:
digital image
[for a Web site]
Materials/Techniques Description:
interactive networked code: Java applet with server
database and servlets
Flag: material
Role: support Name:
computer code | digital images | audio
Flag: technique/implement
Role: technique
Name: HTML
| FLASH | networked | interactive
For works with parts
[for a lamp]
Materials/Techniques Description:
bronze base; leaded glass shade
Extent: base
..Flag: material
Role: support Name: bronze
Extent: shade
..Flag: material
Role: support Name:
lead glass
For a group of works
[for a group of drawings made with different materials]
Materials/Techniques Description:
pen and ink on paper, chalk on paper, tempera on academy
board
1. Flag: material Role: medium
Name: ink
...Flag: material
Role: support Name:
paper
...Flag: technique/implement
Role: technique Name: drawing
...Flag: technique/implement
Role: implement Name: pen
2. Flag: material Role: medium
Name: chalk
...Flag: material
Role: support Name:
paper
...Flag: technique/implement
Role: technique Name:
drawing
3. Flag: material Role: medium
Name: tempera
...Flag: material
Role: support Name:
academy board
...Flag: technique/implement
Role: technique Name: painting
For uncertain information in the DESCRIPTION
[for a tray]
Materials/Techniques Description:
probably soft paste porcelain
Flag: material
Role: support Name:
soft paste porcelain
[for a portrait painting, tempera is indexed as a material
and the uncertainty is explained in the display; if it were
important to index that the panel painting had been transferred
to canvas, this could have been done by using EXTENT]
Materials/Techniques Description:
oil or oil and tempera on panel transferred to canvas
Flag: material
Role: support
Name: panel
| canvas
Flag: material Role: medium Name: oil | tempera
Flag: technique/implement
Role: technique Name: painting
NOTE: The outline numbers are subject to change; they are
intended only to organize this document.
Revised 27 March 2013 |
|
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