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Paintings in the Laboratory: Scientific Examination for Art History and Conservation Dr UvA-DARE (Digital Academic Repository) Paintings in the laboratory: scientific examination for art history and conservation dr. Groen, C.M. Publication date 2011 Link to publication Citation for published version (APA): dr. Groen, C. M. (2011). Paintings in the laboratory: scientific examination for art history and conservation. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 Colophon ludith Leyster:A Dutch Master andHerWorld is publishedin connection with the exhibition held at FransHalsmuseurn, Haarlem May 16- August 22,1993 WorcesterArt Museum Septemberr9 - December5,1993 DESIGN Richardvanden Dool, Dordrecht PRINTING WaandersPrinters, Zwolle DISTRIBUTED BY YaleUniversity Press @1993 Yale UniversitY A Dutch edition was Published under the title 'Judith LeYster" schilderesin een mannenwereld' il 1993byWaalders Uitgevers, Zwolle, and the Frans Halsmuseum, Haarlem. Al1 rights resewed. This bookmaY notbe reProduced, in whole or in Part, ilcluding illustrations, in anYform (beYonc that copying Permitted bY Sectioro ro7 and ro8 ofthe us. CoPlright Law and excePt bY reviewers for the public press), without written peimission from the Publishers. The paper in this book meetsthe guideliles for permanence and durability of the committee on Production Guidelines for Book Longevitfofthe council on Library Resources. LIBRARY OF CONGRESS CATAIOGING-IN.PUBLICATION DATA Judith Leyster:a Dutch master and herworld/ Project directors' JamesA. Welu and Pieter Biesboer 3gzp, 23ox28o cm 'Worcester Art Museum, Frans Halsmuseum, Haarlem.' Exhibition etalog. Includes bibliographical references andindq. rsBNo-3oo-o5564-1 r. Leyster,ludith, 1609-1660- Exhibitions. r. Welu' JamesA' rr. Worcester Art Museum. rr. Frans Halsmusem. ND653.L73^41993 759.9492-dczo 93-12478 CP A cataloguerecord for this book is available ftom the British Library. Cover fi'ont: detail ftom cat.7 back: detail from cat'r6 Iudith Leyster: ELLA HENDRIKS AND KARIN GROEN A TechnicalExamination of HerWork Very little technicalinformation concerning proportion of paintingson wood panelfound in paintingsattributed to Judith Leysterhas been the known production of FransHals from the same publishedprior to this catalogue,which hasinvolved period (r3 out of47 paintings).sLeyster's frequent systematictechnical examination of 16oil paintings, choiceofwood panelas a paintingsupport, as somdof which areno longer acceptedas by Leyster.r indicatedby her known paintings,counters a Among theseare six signedworks (four of them generaltendency for canyasto supersedewood as dated)which serveas key points of referencein the dominant support in seventeenth-century comparingexamination resuits.2 Although surviving Netherlandishpainting.6 The largestof Leyster's documentsoffer little definite ir,formation panels,Carousing Couple (caI.4) measures 68 x 55cm. concerningLeyster's training and the practicesof For works largerthan this, Leysterturned to canvas her studio,we hope that this first technical asa support.TThe moderatesize of her largestknovm examinationof someof her paintingsmay provide canvas,lolly Toper(cat.z), which hasbeen trimmed freshinsight into theseissues. aroundthe edgesand now measures88.o x 83.7cm, The first of our goalsis to determinewhether confirms Leyster'spredilection for painting on a amongthe heterogeneousstyles of the paintings modestscale. examined- which hasbeen explained as eclectic - There areseveral likely reasonsfor Leyster's any common characteristicsmay be considered frequentchoice of wood paneifor her painting hallmarksof Leyster'spainting technique.Second, supports.First, canvas gained popularity only we hope to discoverwhether any similaritiesin her graduallythroughout the seventeenthcentury, and painting techniquewould supportthe proposition asthe traditional painting support,wood panel that sheapprenticed to FransHals around 1629. would havebeen readily available. The small panels Up until now, the closeaffinity in styleand subject usedby Leystercould be simply made,mostly from matter of someof her paintingshas supported this a singleplank (seebelow). Second,the potential suggestion.Results ofan earliertechnical study of advantageof canvasas a lightweightmaterial that paintingsattributed to FransHals provide important could be easilyrolled up for transportwould not comparativematerial.3 Technical studies of other havebeen important for the small-scalepaintings, paintersthought to havetaught or influenced mainly genrepieces, in which Leysterspecialized. Leysterhave not taken placeon this scaleand are It appearsthat shenever executed commissions for beyondthe scopeof this project,although some large-scaleportraits or group portraits on canvasto information is available.aFinally, we hopeto comparewith thoseof other Haarlemartists, such augmentcurrent knowledgeconcerning the studio asher purported teachers,Frans Hals or the De practicesof paintersin Haarlem in generaland to Grebbers.The production ofher husband,Jan provide a foundation for continuedresearch. MienseMolenaer, provides a closercomparison with Leyster'sspecialization in small-scaleworks. The Painting Support In generalthe 1668postmortem inventory of Leyster'saccepted oeuvre consists ofabout Molenaer'seffects specifies far more panelsthan twenty oil paintings,all of which appearto date canvasesused as painting supports,although two between:629 and about 1636,when shewas still entriesdo record'large' and 'extraordinarilylarge' single.This catalogueincludes fifteen of those canvases.8 paintings,seven ofwhich are on wood paneland eighton canvas.This is roughly doublethe 93 PAINTINGS IN THE LABORATORY: Scientific Examination for Art History and Conservation 203 Wood Panel width in the panels,ftomtzz:rto 1.39:r.rrPossibiy This study involvestechnical examination of six manufactureof the smallestpanels, which comprise rectangularpaintings on wood panel,whose present a singleplank, was dictated by the sizeof the planks dimensionsare listed below.e deliveredby the sawmill rather than by predeterminedsizes. The width of a plank was [1:"' H;" il:'.T[:'Jl",*Til*:,"1'letreetrunk'which Seventeenth-centurytraders' inventories groupedpaintings under categoriesof size,named r Serenade a ?, < ^< (e.8.guldensor stuyvers)' 8 ManOfferingMoneyto accordingto Dutch coins aYoungWoman 3o.7 )4.r monetaryvaiues (e.g., stooters, one stooterbeing 9 A Gameof Tric-Trac 40.6 3r.o equivalent to two and a half stuivers), or subject 4 ChildrenwithaCatandanEel 58.5-59.5 48.0-48.7 matterthathadaparticularformat (e.g.,salvators). Woman 4 Portraitofa 5J.2 4L.t ++^**r. L.--,. the player Attempts^ have been made to rediscover 4o TheRommel-pot 39.o 3o.8 approximate formats intended by this seventeenth- century nomenclature.rs All the rectangular Five of the panels examined each comprise a single paintings on wood panel attributed to Leyster plank. The smallestplank width occursin the canpresumably be associatedwith the smallest virtually intact Man OfferingMoney to a Young categoriesof paintingsnamed in seventeenth- Woman(cat.8)and measuresz4.r cm.The widest centuryinventories, from the salvatordown to the plankusedoccursinPortraitof aWoman(cat.r+), stooter.Ithasbeensuggested thatChildrenwitha which could originallyhave measured as much as Cat and an Eel(catq) could be associatedwith a 49 cm,unusually wide. Leyster'slarger painting on salvatorformat measuringabout 6z x 49 cm, though panel,Children with a Cat and an Eel(cat.r3,fig.4z, a possiblereduction in sizeof the panelshould be 44), now measuresup to 48.7cm wide and showsa takeninto account.16On the other hand, the smaller more complexconstruction. In this case,two Rommel-PotPlayer (cat.4o), which is now no longer verticalplanks have been butt-joined (straightedge thought to be by Leyster,can presumablybe againststraight edge) and glued.As wasusual compared to two other small Rommel-PotPlayers practice,weaker sapwood portions ofthe planks recordedin seventeenth-centuryinventories, one (which havebeen prone to woodworm attack)have beenjoined alongthe inside.ro Seventeenth-centurysources suggest that Frc.39 Wood panels painterscould obtain wood panelsmade by [ ]rrrishr rectansular format specialistcabinet makers and joiners,probably with standardheight and width dimensionsthat correspondedto standard-sizeframes.l I An entry in the postmorteminventory of Molenaer'seffects r'4 recordstwenty-six single piece panels, all of the same size.12Although the conceptof uniformity in the seventeenthcentury was less exact than it is today, 1.1q taken literallythis would suggesta reserveof standardformat panels.Since existing paintings on wood panelby someother seventeenth-century 1'3 painterscan be characterizedby a systemofstandard
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