DEFINITION
A detailed discussion of the way in which the work was made,
including an assessment of its workmanship or characteristics
of execution, the construction methods used, or the specific
applications of techniques.
SUBCATEGORIES
11.1. Facture Description
11.2. Remarks
11.3. Citations
11.3.1. Page
Examples
GENERAL DISCUSSION
This category records a text about the details of how a work
was made. It provides important information in a coherent
note for researchers. Pertinent information in this category
should be indexed in appropriate subcategories, such as those
in MATERIALS AND TECHNIQUES, to allow retrieval.
11.1. Facture Description
DEFINITION
A prose description of the facture of the work of art or
architecture.
EXAMPLES
The fifty bronze sections that would make up the Large Arch were sandcast
at the Herman Noack foundry in Berlin, Germany. The pieces
were welded with invisible seams. The creation of the green
patina was directed personally by Moore. The work was then
shipped to the United States in a single piece.
"Fuseli has applied his wash from the upper left to
the lower right, most clearly evident in the lower-right
quadrant, indicating that he drew the work with his left
hand. Although he was apparently ambidextrous, Fuseli created
most of his important drawings with his left hand; the direction
of the shading may, therefore, be used as a test of authenticity
in his graphic work."[1]
DISCUSSION and GUIDELINES
Optional: Provied a detailed description of
how the artist or architect manipulated the materials and
techniques employed in its execution. If the DESCRIPTIVE NOTE
is used for this purpose, it need not be repeated here.
Form and syntax
Use sentence case. You may use complete sentences and/or phrases.
Begin the first word of the note with an uppercase letter,
and end the note with a period. Follow rules for standard
English grammar (if the record is in another language, use
grammar rules appropriate to that language). If you quote
or paraphrase information from a published source, cite the
source in FACTURE - CITATIONS.
This note may examine how a creator applied a particular
process in the production of a work of art or architecture.
This discussion may represent the opinion of the artist, scholarly
research, historical reports, or it may reflect the results
of a technical analysis. It may also include a further clarification
or elaboration of the information recorded in MATERIALS AND
TECHNIQUES.
This subcategory provides an interpretive description of
the physical make-up of a work of art or architecture, which
outlines significant physical characteristics and highlights
construction or manufacturing techniques. There may be different
opinions about how a work of art was actually made.
TERMINOLOGY/FORMAT
Free-text: This is not a controlled field.
Important information in the description should be indexed
in MATERIALS AND TECHNIQUES or other relevant categories.
RELATED CATEGORIES and ACCESS
This subcategory is intended to provide a more complete description
of the act of creation and physical composition of the object
than MATERIALS AND TECHNIQUES - PROCESSES OR TECHNIQUES, and
allows for discussion of its significant characteristics.
Specific working techniques may indicate temporal or geographic
associations, and may be used to substantiate the dating or
attribution of a work.
CONDITION/EXAMINATION HISTORY contains information about
the studies of a work of art that provided information about
its facture. CONSERVATION/TREATMENTHISTORY records any interventions
in the work, including restorations, which may have provided
further insight into the facture of the work. Materials and
techniques mentioned in this category should be recorded in
detail in MATERIALS AND TECHNIQUES.
FACTURE is descriptive information may be repeated in part
in a DESCRIPTIVE NOTE about the object. Terms used to describe
facture may often be the same as those used to describe technique
in the category MATERIALS AND TECHNIQUES, since the difference
is simply one of the creative process (in the case of facture)
and evidence of that process (in the case of technique). For
this reason, the ability to compare information recorded as
facture with information recorded as technique is important.
11.2. Remarks
DEFINITION
Additional notes or comments pertinent to information in
this category..
DISCUSSION and GUIDELINES
Optional: Record a note regarding the facture
of 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.
11.3. 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.
11.3.1. 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
Facture: Three layers: animation cel of Turtle
& Chipmunk, special effects cel depicting water, and
the background.
Facture: Ten feathers are bent through holes
in the upper rim and sewn in place.
Facture: On the other link-head of the Old
Windsor bit is a series of four scribed circles. The largest
of these circles is on the upper surface and is hollowed
out for inlay and, like the vestigial stop-knobs, has the
pin fastening still visible. There is a small area of rough
matting design, as on Datchet produced by interrupted taps
of the tracer. Matting also occurs on other horse-bits presumed
to be contemporary.[2]
Facture: In its earliest form the pyramid
was a seven-stepped structure finished with a casing of
dressed limestone. Later it was enlarged into an eight-stepped
pyramid by extending all seven original steps, and adding
a new platform on top. In a final building campaign, it
was changed into a smooth-sided pyramid by filling in the
steps with casing blocks.
Facture: The chiaroscuro effects, achieved
with the strokes of a rag and the smudging of ink with the
fingers, only partly model the figures and furnishings,
which emerge as forms from the dark only with the help of
assured contour lines quickly scratched in the plate with
a sharp instrument.[3]
NOTE: The outline numbers are subject to change; they are
intended only to organize this document.
Revised 8 September 2008
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