DOI Artikel:
Bastek, Grażyna: New research on Venetian painting based on a group of canvases from the workshop of Michele Marieschi
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18947#0096
Grażyna Bastek
New Research on Venetian
Painting Based on a Group
of Canvases from the Workshop
of Michele Marieschi
Since 1995 a research project entitled Serenissima has been in progress at
the National Museum in Warsaw, which will conclude with an exhibition in
October 1999.' A group of 40 paintings from Venice and the Veneto region
from the 15th to the 18th centuries has been selected for detailed examination.
The project aims to broaden our knowledge of the painting technologies used
in these selected works, complemented simultaneously with archival research
into the history of these paintings and previous conservation efforts. Attempts
will be madę to attribute and datę them using the results of physical-chemical
examination.
Ali of the paintings selected have undergone conservation; in the case of
extremely damaged paintings, it is only during the conservation process that
it is possible to completely discover the structure of the work, sińce this process
examines not only the original layers of the work, but also all later restoration
interference. The discoveries of the original layers and repainting of several
works were confirmed by archival research, thanks to which it has been
possible to determine the source of the 19th and 20th century restorations, as
well as the extent of these alterations.1 2
Reaching the original layer of the painting and removing the falsifying
adulterations is the point of departure for work in the field of art history.
In several instances the discovery beneath dirty varnishes and former
overpainting of the original layers of paint madę it possible to confirm the
1 This program is undertaken as part of a project funded by the Committee for Scientific Research
(KBN), no. 1 HOIE 001 96c/3009; its goal is the realisation of a model of physical-chemical
examination and conservation of easel painting. The authors and curators of the exhibition
are Grażyna Bastek and Grzegorz Janczarski; Blandyna Kaniewska-Wójcik of the National
Museum in Warsaw is overseeing the conservation of the paintings. Dr. Maria Tigęza of the
Academy of Fine Arts in Cracow is directing the technological research and examination of the
paintings.
2 The most interesting results emerged from the research regarding the history of the paintings from
the Potocki collection, which was conducted by Ewa Manikowska of the University of Warsaw.
90
New Research on Venetian
Painting Based on a Group
of Canvases from the Workshop
of Michele Marieschi
Since 1995 a research project entitled Serenissima has been in progress at
the National Museum in Warsaw, which will conclude with an exhibition in
October 1999.' A group of 40 paintings from Venice and the Veneto region
from the 15th to the 18th centuries has been selected for detailed examination.
The project aims to broaden our knowledge of the painting technologies used
in these selected works, complemented simultaneously with archival research
into the history of these paintings and previous conservation efforts. Attempts
will be madę to attribute and datę them using the results of physical-chemical
examination.
Ali of the paintings selected have undergone conservation; in the case of
extremely damaged paintings, it is only during the conservation process that
it is possible to completely discover the structure of the work, sińce this process
examines not only the original layers of the work, but also all later restoration
interference. The discoveries of the original layers and repainting of several
works were confirmed by archival research, thanks to which it has been
possible to determine the source of the 19th and 20th century restorations, as
well as the extent of these alterations.1 2
Reaching the original layer of the painting and removing the falsifying
adulterations is the point of departure for work in the field of art history.
In several instances the discovery beneath dirty varnishes and former
overpainting of the original layers of paint madę it possible to confirm the
1 This program is undertaken as part of a project funded by the Committee for Scientific Research
(KBN), no. 1 HOIE 001 96c/3009; its goal is the realisation of a model of physical-chemical
examination and conservation of easel painting. The authors and curators of the exhibition
are Grażyna Bastek and Grzegorz Janczarski; Blandyna Kaniewska-Wójcik of the National
Museum in Warsaw is overseeing the conservation of the paintings. Dr. Maria Tigęza of the
Academy of Fine Arts in Cracow is directing the technological research and examination of the
paintings.
2 The most interesting results emerged from the research regarding the history of the paintings from
the Potocki collection, which was conducted by Ewa Manikowska of the University of Warsaw.
90