{PDF} Hieronymus Bosch: Visions of Genius
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Destructive Pigment Characterization
Looking for common fingerprints in Leonardo’s pupils through non- destructive pigment characterization LETIZIA BONIZZONI 1*, MARCO GARGANO 1, NICOLA LUDWIG 1, MARCO MARTINI 2, ANNA GALLI 2, 3 1 Dipartimento di Fisica, Università degli Studi di Milano, , via Celoria 16, 20133 Milano (Italy) 2 Dipartimento di Scienza dei Materiali, Università degli Studi di Milano-Bicocca, via R. Cozzi 55, 20125 Milano (Italy) and INFN, Sezione Milano-Bicocca. 3 CNR-IFN,piazza L. da Vinci, 20132 Milano (Italy). *Corresponding author: [email protected] Abstract Non-invasive, portable analytical techniques are becoming increasingly widespread for the study and conservation in the field of cultural heritage, proving that a good data handling, supported by a deep knowledge of the techniques themselves, and the right synergy can give surprisingly substantial results when using portable but reliable instrumentation. In this work, pigment characterization was carried out on twenty-one Leonardesque paintings applying in situ XRF and FORS analyses. In-depth data evaluation allowed to get information on the colour palette and the painting technique of the different authors and workshops. Particular attention was paid to green pigments (for which a deeper study of possible pigments and alterations was performed with FORS analyses), flesh tones (for which a comparison with available data from cross sections was made) and ground preparation. Keywords pXRF, FORS, pigments, Leonardo’s workshop, Italian Renaissance INTRODUCTION “Tristo è quel discepolo che non ava[n]za il suo maestro” - Poor is the pupil who does not surpass his master - Leonardo da Vinci, Libro di Pittura, about 1493 1. 1 The influence of Leonardo on his peers during his activity in Milan (1482-1499 and 1506/8-1512/3) has been deep and a multitude of painters is grouped under the name of leonardeschi , but it is necessary to distinguish between his direct pupils and those who adopted his manner, fascinated by his works even outside his circle. -
Jheronimus Bosch-His Sources
In the concluding review of his 1987 monograph on Jheronimus Bosch, Roger Marijnissen wrote: ‘In essays and studies on Bosch, too little attention has been paid to the people who Jheronimus Bosch: his Patrons and actually ordered paintings from him’. 1 And in L’ABCdaire de Jérôme Bosch , a French book published in 2001, the same author warned: ‘Ignoring the original destination and function his Public of a painting, one is bound to lose the right path. The function remains a basic element, and What we know and would like to know even the starting point of all research. In Bosch’s day, it was the main reason for a painting to exist’. 2 The third International Bosch Conference focuses precisely on this aspect, as we can read from the official announcement (’s-Hertogenbosch, September 2012): ‘New information Eric De Bruyn about the patrons of Bosch is of extraordinary importance, since such data will allow for a much better understanding of the original function of these paintings’. Gathering further information about the initial reception of Bosch’s works is indeed one of the urgent desiderata of Bosch research for the years to come. The objective of this introductory paper is to offer a state of affairs (up to September 2012) concerning the research on Bosch’s patronage and on the original function of his paintings. I will focus on those things that can be considered proven facts but I will also briefly mention what seem to be the most interesting hypotheses and signal a number of desiderata for future research. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Ecce Homo Svetlana Gasanova* , Nikolas Bakirtzis and Sorin Hermon
Gasanova et al. Herit Sci (2017) 5:33 DOI 10.1186/s40494-017-0145-2 RESEARCH ARTICLE Open Access Non‑invasive sub‑surface analysis of the male portrait underlying the Titian’s Studio Ecce Homo Svetlana Gasanova* , Nikolas Bakirtzis and Sorin Hermon Abstract The present study discusses new research on the analysis of a portrait of a male fgure discovered under the painting of Ecce Homo, attributed to the studio of Titian (ca. 1488–1576), with an estimated date in the 1550s. The portrait was examined with non-invasive methods: X-ray radiography (XRR), digital microscopy and micro-XRF. The examination of XRR images exposed the details of the painting’s underlying depiction, which according to the details preserved appears to be a completed or nearly fnished portrait of a standing man. The application of digital microscopy on the Ecce Homo painting’s cracks enabled the identifcation of the work’s stratigraphy. Micro-XRF performed on selected spots allowed to identify lead white, vermilion, red iron oxide, umber, carbon black and copper green in the underly- ing portrait. The described investigation methodology was guided by the close visual analysis of the Ecce Homo work and proved to be efective in the identifcation of the pigments of the hidden painting and the reconstruction of its colour palette. Keywords: Hidden painting, Micro-XRF, X-ray radiography, Digital microscopy, Titian, Ecce Homo Introduction the pictorial layers. However, the reading of XRR and IRR Te reuse and repainting of canvases was a common images might be complicated as the images result from practice in artists’ workshops. -
Thoughts About Paintings Conservation This Page Intentionally Left Blank Personal Viewpoints
PERSONAL VIEWPOINTS Thoughts about Paintings Conservation This page intentionally left blank Personal Viewpoints Thoughts about Paintings Conservation A Seminar Organized by the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute at the Getty Center, Los Angeles, June 21-22, 2001 EDITED BY Mark Leonard THE GETTY CONSERVATION INSTITUTE LOS ANGELES & 2003 J- Paul Getty Trust THE GETTY CONSERVATION INSTITUTE Getty Publications 1200 Getty Center Drive, Suite 500 Timothy P. Whalen, Director Los Angeles, CA 90049-1682 Jeanne Marie Teutónico, Associate Director, www.getty.edu Field Projects and Science Christopher Hudson, Publisher The Getty Conservation Institute works interna- Mark Greenberg, Editor in Chief tionally to advance conservation and to enhance Tobi Levenberg Kaplan, Manuscript Editor and encourage the preservation and understanding Jeffrey Cohen, Designer of the visual arts in all of their dimensions— Elizabeth Chapín Kahn, Production Coordinator objects, collections, architecture, and sites. The Institute serves the conservation community through Typeset by G&S Typesetters, Inc., Austin, Texas scientific research; education and training; field Printed in Hong Kong by Imago projects; and the dissemination of the results of both its work and the work of others in the field. Library of Congress In all its endeavors, the Institute is committed Cataloging-in-Publication Data to addressing unanswered questions and promoting the highest possible standards of conservation Personal viewpoints : thoughts about paintings practice. conservation : a seminar organized by The J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute at the Getty Center, Los Angeles, June 21-22, 2001 /volume editor, Mark Leonard, p. -
Today Hieronymus Bosch Is Most Readily Associated with Images of Hell and Its
CHAPTER 1 A NEW BOSCH EPIPHANY? ADORATION OF THE MAGI REASSEMBLED Larry Silver, University of Pennsylvania For Yona Pinson, colleague and friend Today Hieronymus Bosch is most readily associated with images of Hell and its torments or with the temptation of isolated hermit saints by legions of demons. Among his Gospel subjects, however, Bosch’s most popular (and most copied) imagery features the scene of Epiphany. That event, associated with the twelfth night of Christmas season, occurred when the wise men or “Magi” from “the East” (traditionally three in number in visual art) came to Jerusalem, led by the star in the East, to view the King of the Jews, the new-born infant Jesus (Matthew 2:1–11). In tribute they brought luxury gifts, fit for a king: gold, frankincense, and myrrh. Although pagans, these foreign kings were the first Gentiles to acknowledge the divinity and royal supremacy of the Christ Child. Their holy relics were later to enjoy special veneration in a magnificent golden shrine from the early thirteenth century created by Nicholas of Verdun, in Cologne Cathedral, the archdiocese of the Netherlands.1 During the period of Bosch’s early career, Netherlandish visual conventions of the late fifteenth century pictured the Three Magi as representatives of the three ages of mankind (youth, maturity, and old age) as well as the three Old World continents 1 Franz Günter Zehnder, Die Heiligen Drei Könige: Darstellung und Verehrung (Cologne: Wallraf- Richartz-Museum, 1982). (Africa, Asia, and Europe).2 Europe, the most senior by virtue of being the first to adopt Christianity, is usually shown as the oldest, white-haired Magus, given the most favorable position, kneeling closest to the Christ Child. -
Journal 08 March 2021 Editorial Committee
JOURNAL 08 MARCH 2021 EDITORIAL COMMITTEE Stijn Alsteens International Head of Old Master Drawings, Patrick Lenaghan Curator of Prints and Photographs, The Hispanic Society of America, Christie’s. New York. Jaynie Anderson Professor Emeritus in Art History, The Patrice Marandel Former Chief Curator/Department Head of European Painting and JOURNAL 08 University of Melbourne. Sculpture, Los Angeles County Museum of Art. Charles Avery Art Historian specializing in European Jennifer Montagu Art Historian specializing in Italian Baroque. Sculpture, particularly Italian, French and English. Scott Nethersole Senior Lecturer in Italian Renaissance Art, The Courtauld Institute of Art, London. Andrea Bacchi Director, Federico Zeri Foundation, Bologna. Larry Nichols William Hutton Senior Curator, European and American Painting and Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is to publish texts on significant Colin Bailey Director, Morgan Library and Museum, New York. Sculpture before 1900, Toledo Museum of Art, Ohio. pre-twentieth-century artworks in the European tradition that have recently come to light or about which new research is Piers Baker-Bates Visiting Honorary Associate in Art History, Tom Nickson Senior Lecturer in Medieval Art and Architecture, Courtauld Institute of Art, underway, as well as on the history of their collection. Texts about artworks should place them within the broader context The Open University. London. of the artist’s oeuvre, provide visual analysis and comparative images. Francesca Baldassari Professor, Università degli Studi di Padova. Gianni Papi Art Historian specializing in Caravaggio. Bonaventura Bassegoda Catedràtic, Universitat Autònoma de Edward Payne Assistant Professor in Art History, Aarhus University. Manuscripts may be sent at any time and will be reviewed by members of the journal’s Editorial Committee, composed of Barcelona. -
Bartolomé Esteban Murillo (Seville, 1617-1682) Ignacio Cano Rivero Ecce Homo Circa 1675
139 Bartolomé Esteban Murillo (Seville, 1617-1682) Ignacio Cano Rivero Ecce Homo Circa 1675 Oil on canvas 56 x 44 cm Inscriptions / Label on the back, attached to the frame: "Grundy & Smith. Ancient & Modern Printsellers." It was possibly attached to a previous frame and then transferred to the new one. Provenance / GP Dudley Wallis Collection, Christie’s Sale, London, 21 July, 1972, lot 111, Esq. , “Christ as the Man of Sorrows”, B.E. Murillo, 58.5 x 43 cm (23 x 27 in.); acquired by Nando for $ 957 (380 Gns.); Christie’s Sale, London, South Kensington, 19 April, 2000, No., 172 as “Circle of Bartolomé Esteban Murillo / Ecce Homo"”2 ; Granados Collection, Madrid, until 2017; Spanish private collection. Exhibitions / Splendor of Andalusian Baroque, CajaSur Foundation, Caja Sur Museum Exhibition Hall, Córdoba, from 30 October to 2 December, 2007. Hospital de la Caridad, Seville, from 15 December, 2007 to 20 January, 2008; Baroque Spirit, Caja de Burgos. La Casa del Cordón, Burgos, from 22 February 22 to 4 May, 2008; Demeanors, Caja Segovia Social Work, Torreón de Lozoya, Segovia, from 1 July to 7 November, 2011. Literature / Palencia, José M., Esplendor de barroco andaluz (Splendor of Andalusian Baroque) exh. cat., 2007, p. 74; Palencia, José M., Espíritu barroco (Baroque Spirit) exh. cat., 2008; Martínez Leiva, G. y Rodríguez Rebollo, A., Semblantes (Demeanors) exh. cat., 2011. 140 SPANISH OLD MASTER PAINTINGS 1500–1700 141 The Ecce Homo Iconography (Fig. 1) The malice of the people is merciless against Jesus. Pilate said unto them: Spain in the paintings of Titian, present in the royal collections; this is The life of Christ is one of the most inspiring and cultivated stories in the “And what am I going to do with Jesus, the one called Christ?” And they all accepted by historians, from Jameson to Panofsky. -
A Portrait of Christ in the Christian Museum of Esztergom
Éva Bárdits A PORTRAIT OF CHRIST IN THE CHRISTIAN MUSEUM OF ESZTERGOM MA Thesis in Comparative History, with a specialization in Late Antique, Medieval, and Renaissance Studies. Central European University Budapest May 2019 CEU eTD Collection A PORTRAIT OF CHRIST IN THE CHRISTIAN MUSEUM OF ESZTERGOM by Éva Bárdits (Hungary) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Comparative History, with a specialization in Late Antique, Medieval, and Renaissance Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner CEU eTD Collection ____________________________________________ Examiner Budapest May 2019 A PORTRAIT OF CHRIST IN THE CHRISTIAN MUSEUM OF ESZTERGOM by Éva Bárdits (Hungary) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Comparative History, with a specialization in Late Antique, Medieval, and Renaissance Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapests May 2019 A PORTRAIT OF CHRIST IN THE CHRISTIAN MUSEUM OF ESZTERGOM by Éva Bárdits (Hungary) Thesis submitted to the Department of Medieval -
Albrecht Dürer's “Oblong Passion”
ALBRECHT DÜRER’S “OBLONG PASSION”: THE IMPACT OF THE REFORMATION AND NETHERLANDISH ART ON THE ARTIST’S LATE DRAWINGS by DANA E. COWEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY January, 2014 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Dana E. Cowen ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Catherine B. Scallen (signed)_______________________________________________ (chair of the committee) Jon L. Seydl ________________________________________________ Holly Witchey ________________________________________________ Erin Benay ________________________________________________ 4 November 2013 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. This dissertation is dedicated to my parents, Nancy and John, and to my brother Mark Table of Contents Table of Contents i List of Figures ii Acknowledgements xi Introduction 1 Chapter One 23 Albrecht Dürer in the Netherlands, 1520 to 1521: The Diary and Works of Art Chapter 2 58 Dürer and the Passion: The “Oblong Passion” and its Predecessors Chapter 3 111 Dürer, Luther, and the Reformation: The Meaning of the “Oblong Passion” Chapter 4 160 The “Oblong Passion” Drawings and their Relationship to Netherlandish Art Conclusion 198 Appendix 1: 204 Martin Luther. “Ein Sermon von der Betrachtung des heiligen Leidens Christi” (A Sermon on Meditating on the Holy Passion of Christ), 1519 Appendix 2: 209 The Adoration of the Magi Appendix 3: 219 The Progression of Scholarship on Fifteenth- and Sixteenth-Century Netherlandish and German Drawings from the Late Nineteenth-Century to the Present Figures 233 Bibliography 372 i List of Figures Fig. -
“Ecce Homo” by Antonello Da Messina, from Non-Invasive Investigations To
www.nature.com/scientificreports OPEN “Ecce Homo” by Antonello da Messina, from non‑invasive investigations to data fusion and dissemination Fauzia Albertin1,2,3, Chiara Ruberto4,5*, Costanza Cucci6*, Marco Callieri7, Marco Potenziani7*, Eliana Siotto7, Paolo Pingi7, Roberto Scopigno7, Matteo Bettuzzi2,3, Rosa Brancaccio2,3, Maria Pia Morigi2,3, Lisa Castelli4, Francesco Taccetti4, Marcello Picollo6, Lorenzo Stefani6 & Francesca de Vita8 Scientifc investigations of artworks are crucial in terms of preservation since they provide a measurable evaluation of the materials and the state of conservation. This is the case of Antonello da Messina’s painting “Ecce Homo”: its delicate state of conservation, with the need for constant monitoring, required a broad and in‑depth diagnostic campaign to support the restorers. The project was carried out entirely in situ using non‑invasive cutting‑edge techniques and proposes a multimodal and data‑centric approach, integrating 3D and 2D methodologies. The surface irregularities and the support were analysed with a structured‑light 3D scanner and X‑ray tomography. The painting materials were investigated with X‑ray fuorescence scanning (MA‑XRF) and refectance hyperspectral imaging (HSI). Primarily, the data were jointly used for a scientifc scope and provided new knowledge of the painting in terms of materials and painting techniques. In addition, two web‑based interactive platforms were developed: one to provide restorers and experts with a new perspective of the hidden geometries of the painting, and the other targeted at the general public for dissemination purposes. The results of the Ecce Homo scientifc analysis were exhibited, using a touch‑screen interface, and developed for diferent user levels, from adults to kids. -
Hieronymous Bosch © Laurence Shafe, 2019
Hieronymous Bosch © Laurence Shafe, 2019 • This talk is based on an exhibition that opened in 2016, the 500th anniversary of the death of Hieronymus Bosch (c. 1450-1516). • The first thing to say is that we know very little of the artist, when he painted each work and their meaning. This has not prevented a great deal of research and even more speculation driven by the power, uniqueness and suggestiveness of his work. I first, briefly, put his work in the context of other artists of the same period and then look at each of his major works in turn. • He was born in ‘s-Hertogenbosch (pronounced ‘set-erten-bosh’) as Jheronimus van Aken (pronounced ‘jeronimus van arken’) but signs his paintings as Jheronimus Bosch. He was famous in his lifetime and is known in Spain as El Bosco and Philip II (1527-1598) was a great admirer and bought many of his works. • The anniversary of his death was celebrated by a major exhibition in ‘s- Hertogenbosch which brought together 20 of his 25 surviving panels. A major exhibition was also held at the Prado in Madrid which holds The Garden of Earthly Delights, which can never be moved. • Over the years art historians have speculated on his work and have claimed he incorporated heretical messages such as the Adamite, Cathar or even Rosicrucian beliefs. Other theories find a basis in astrology or alchemy or even that he was a drug addict and they represent his drug-induced dreams. Recent researchers 1 nearly all agree that his worked incorporates the strict moral codes of the period and is concerned with sin and its consequences.