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Luca Longhi Két Festménye Budapesten zöldöli kívül a kendőn renaissance-kori átfestések is vol- fejek sebének eredeti festésének maradványai láthatók. tak. A barna lazúrszerű szín a zöld aláfestés oxidációjának Megjegyzendő, hogy a fej két oldaláról leomló haj csak bizonyult. részben eredeti: a mellkas jobb oldalán a haj csigájából a Az eredeti enyves krétaalapozásra később felhordott legalsó rész hiányzik és ferdén letört a baloldali vállra ve- enyves réteg erősen kötődött az eredeti temperafestékhez, tődő hajtincs. amely finom és vékony. Színe világos rózsaszínű, s átvette Befejezésül hangsúlyoznunk kell a szobor jó kvalitá- az alapozás törésvonalkáit. Ezen a testszínen néhol a kék sát és egyáltalán előkerülésének történeti értékét. Ezzel erek fölfestett maradványai láthatók, amelyek alig ki- a korpusszal a 15. század végi, szepességi származású emelkedően plasztikusak és a végtagok alsó részének faszobrok sora szép darabbal gyarapodott. izomzatán jelennek meg. A sebek sötétvörös, transzpa- rens krapplakkjából elég sok maradt meg. Maria Marga-Spoloéniková A később festett testszínek alig különböznek egymás- tól. Különösen nehéz vállalkozás volt az eredetinél alig száz évvel későbbi temperafestés leválasztása. A barokk idők átfestése jobban igyekezett dinamizálni, naturalisz- JEGYZETEK tikusabbá tenni a korpuszt, hogy a tájdalmak borzalmát 1 Doering — Hurtig: Christliche Symbole, 1940, 33. hangsúlyozza — néhol zöldes-lila foltokkal. 2 J. liakoí : Koncepcie elejin Stredovekého dreveného sochárstva A restaurálás fő feladata az eredeti állapot legalább Slovenska do polovice 15. storocia II. Uinéní: XXVII — 1979 — megközelítő helyreállítása volt. A fa viszonylagosan jó 5- 431- állapotúnak mutatkozott, helyenként a túlságos beszá- 3 Radocsay 1). : A középkori Magyarország faszobrai, Bpcst, radás jeleivel. Szú az alsó részeken okozott károkat. 1967. 199, 162. A faragott részekből hiányoznak: a kezek összes ujjai, 4 Vaculik, K.: Gotické umenic Slovenska, 197.5. csak részben maradtak meg a tenyerek s hiányoznak a 5 Radocsay D.: 1. c. 216. A szepeshelyi Püspöki Hivatal levél- tára nem volt számomra hozzáférhető. lábak nagy lábujjai. A lábfejek hídján át eredetileg fa- 6 Supis pamiatok 11a Slovensku, Bratislava, 1967. szeget ütöttek a lábfejekbe fúrt lyukba. A szeg fölső és 7 Spololniková M. : Ukriiovany z Preäova, ARS — megjelenés részben az alsó részén ugyan hiányosan, megvan. A láb- alatt. luca longhi két festménye budapesten A Bizományi Áruház Vállalat 53. képaukcióján került apja toronyba zárta. Ennek falába, a keresztény hitre árverezésre az a kis méretű, Szent Borbálát ábrázoló fest- tért Borbála, a Szentháromságot jelképezendő, a két mény, amely véleményünk szerint Luca Longhi ravennai ablak mellé egy harmadikat vágatott. [2] Baloldalt zöld festő munkája a 16. század harmadik negyedéből.[1] függöny, jobboldalt hegyes tájra kitekintést nyújtó ablak A női szent zöld tunikában, sárga ingvállal és lilás lepel- keretezi az alakot. ben jelenik meg, fejét lebegő kendő díszíti, kezében a Luca Longhi (1507—1580) provinciális mester, aki mártíromság pálmaágát és attribútumát, a tornyot tart- stílusát előbb Francesco Francia és Raffaello, később ja. A legenda szerint ugyanis a szépséges leányt pogány Parmigianino hatása alatt alakította ki. [3] Fejlődésében i. Luca Longhi vagy Barbara Longhi : Szent Borbála 2. Luca Longhi : Mária gyermekével 287 az ötvenes évektől megfigyelhető manierista vonások fel- bara Longhi képmása. Stílusaualógiaként Luca Longhi- tehetőleg Giorgio Vasari ravennai működésével (1548) is nak arra a több példányban is fennmaradt Mária gyer- összefüggésben vannak. Oltárképeket, magánájtatosság- mekével kompozíciójára hivatkozhatunk, amelynek egyik ra szánt festményeket és portrékat egyaránt festett. Leg- változatát a Régi Képtár tanulmányi gyűjtemenye fontosabb műveit a ravennai képtár őrzi. [4] Lánya, Bar- őrzi. [5] bara Longhi (1552—1638 körül) szerény, kézművesi szin- Tátrai Vilmos ten az apai műhelytradiciót folytatta. Barbara Longhi neve képünkkel kapcsolatban is felmerülhet, bár a fest- mény kvalitásai alapján valószínűbbnek tartjuk Luca JEGYZETEK Longhi szerzőségét. Kettejük munkásságának szétválasz- 1 Bizományi Áruház Vállalat, 53. képaukció. Budapest, 1980. tása — különösen a replikák, variánsok esetében, még december. 230. Roinagnai festő, 1600 körül: Szent Borbála. O.v. 111a is sokszor nehézséget okoz a kutatásnak. 39 X 30 cm. A figura kontraposztos beállítása, csakúgy mint a 2 Szent Borbála ikonográfiájához lásd: Petzotdt, I..: „Barbara" bávatagon ájtatos, kerekded arc meglehetősen konven- címszó. Lexikon der Christlichen Ikonographie. 5. kötet. Rom, Freiburg, Basel, Wien 1973. cionális. A színek fakók, a redővetés merev, sematikus. 3 Venturi, .-f..4 Storia dell'arte italiana. IX. La pittura del Szigorú mércével mérve sem fedezhetünk fel azonban Cinquecento. 5. kötet. Milano 1932. 692 — 705. Dirani, W.: Luca hibát az alak arányaiban, az arc és a finomkodóan elegáns Longhi. Ravenna 1939. (Ez utóbbi monográfiát nem állt módomban kezek modellálásában. A kicsiny képnek mindenképpen felhasználni, miután nincs meg Magyarországon.) Clenci Bagnzzi, N. : bizonyos jelentőséget kölcsönöz, hogy korhoz és névhez „Luca Longhi" címszó. Dizionario enciclopedico Boiulíi dei pittori köthető. Attribuciónk helyessége mellett szól maga a e degli incisoii italiani. VII. kötet. Torino 1975. témaválasztás is. Luca Longhi Szent Borbálában minden 4 Martini, A.: La Galleria dell'Accademia di Ravenna. Ve- bizonnyal lányának, Barbarának a védőszentjét festette nezia 1959. 87 — 110. 5 Luca Longhi: Mária gyermekével. O.v. 48,5x38,8 cm. Lelt. meg. Az sem kizárt, bár hiteles portré hiányában bizonyít- sz. 168. Pigler, A.: Katalog der Galerie Alter Meister. Budapest hatatlan, hogy a festmény valójában rejtett portré, Bar- 1967. 390. három 17. századi nemet festő: christoph paudiss, eberhard keid es salamon adler kepei Hármójuk közül a legtehetségesebbnek, a hamburgi eis ő magyar támogatójának nevét és azt is, mennyi idő származású Paudissnak volt köze Magyarországhoz. tölthetett a festő az országban. [1] Ő ugyanis Rembrandt műhelyéből hamarosan idekerült. Paudiss magyarországi útjának eddig két alkotás- Feltételezhetően főúri megliivásra, hiszen pályája a bi- emléke ismert. Az első egy magyar hajdút ábrázoló, kép- zonysága, hogy egyre megértő mecénást keresett. Egy- más-szerű feje. (Drezda, Képtár; a második világháború- szersmind persze udvari szolgálatot, amelyet drezdai és ban elpusztult) [2] A másik egy Fiatal magyar főnemes bécsi próbálkozásai után végül is a freisingi püspöknél mellképe. (Leningrád, Ermitázs).[3] Tény továbbá, hogy talált meg. Levéltári kutatás bizonyára előhozza majd a régi magyal gyűjtők kedvelték a képeit. Egyelőre nem i. Christoph Paudiss : Férfiarckép 2. Christoph Paudiss : Szt. Péter apostol (Budapest, Szépművészeti Múzeum) (korábban magyar magántulajdonban ; lappang) 288 .
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