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#0100
2. Michele Marieschi,
Architectonic
Fantasy, during
conservation works
(Phot. Janusz Rosikoń)
described as the work of Jacopo Marieschi, a Venetian painter, formeriy
confused with Michele. The current examination reveals that they are not
related either by family or by workshop. Jan Białostocki linked the paintings
with the work of Michele Marieschi in 1956,11 an attribution which Francesco
Valcanover14 later supported, describing both as anonymous imitations of
MarieschFs compositions. Janina Michałkowa,1' Edward Young,lb and Ralph
Toledano1 again attributed them to Michele Marieschi, while other experts,
Dario Succils and Mario Manzelli14, considered them to be works by followers,
with Manzelli attributing them to Albotto.
The mistaken evaluations of these paintings madę by the experts prior
to their present conservation,20 often on the basis of black and white
the works under discussion here, and a third belongs to the Wawel collections and is deposited
in the castle in Pieskowa Skata. The Fate of the three remaining works is unknown; documents
from the evacuation transports from Sucha mdicate that part of the Container was robbed during
the war by the Nazis.
13 Cf. Wystawa malarstwa włoskiego w zbiorach polskich XVII-XVIII w., exhibition catalogue,
National Museum in Warsaw, Warszawa 1956, cat. nos. 58 and 59.
14 F. Valcanover, “Notę venete alla mostra delta pittura italiana nelle collezioni polacche”,
Emporium, CXXY 1957, p. 249.
15 Cf. Malarstwo weneckie XV-XV1II w. ze zbiorów polskich oraz ze zbiorów Muzeum Sztuk
Pięknych w Budapeszcie, Galerii Drezdeńskiej, Galerii Narodowej w Pradze, exhibition catalogue,
National Museum in Warsaw, Warsaw 1968, cat. nos. 112-113.
16 Young, op. cit., pp. 10-11.
17 Toledano, op. cit., nos. C 57.3 and C 62.
18 Marieschi tra Canaletto e Guardi, op. cit., p. 221.
19 Manzelli, op. cit., as well as an opinion expressed in correspondence.
20 Conservation of MarieschFs works is being conducted by Dorota Plis, to whom I am grateful
94
Architectonic
Fantasy, during
conservation works
(Phot. Janusz Rosikoń)
described as the work of Jacopo Marieschi, a Venetian painter, formeriy
confused with Michele. The current examination reveals that they are not
related either by family or by workshop. Jan Białostocki linked the paintings
with the work of Michele Marieschi in 1956,11 an attribution which Francesco
Valcanover14 later supported, describing both as anonymous imitations of
MarieschFs compositions. Janina Michałkowa,1' Edward Young,lb and Ralph
Toledano1 again attributed them to Michele Marieschi, while other experts,
Dario Succils and Mario Manzelli14, considered them to be works by followers,
with Manzelli attributing them to Albotto.
The mistaken evaluations of these paintings madę by the experts prior
to their present conservation,20 often on the basis of black and white
the works under discussion here, and a third belongs to the Wawel collections and is deposited
in the castle in Pieskowa Skata. The Fate of the three remaining works is unknown; documents
from the evacuation transports from Sucha mdicate that part of the Container was robbed during
the war by the Nazis.
13 Cf. Wystawa malarstwa włoskiego w zbiorach polskich XVII-XVIII w., exhibition catalogue,
National Museum in Warsaw, Warszawa 1956, cat. nos. 58 and 59.
14 F. Valcanover, “Notę venete alla mostra delta pittura italiana nelle collezioni polacche”,
Emporium, CXXY 1957, p. 249.
15 Cf. Malarstwo weneckie XV-XV1II w. ze zbiorów polskich oraz ze zbiorów Muzeum Sztuk
Pięknych w Budapeszcie, Galerii Drezdeńskiej, Galerii Narodowej w Pradze, exhibition catalogue,
National Museum in Warsaw, Warsaw 1968, cat. nos. 112-113.
16 Young, op. cit., pp. 10-11.
17 Toledano, op. cit., nos. C 57.3 and C 62.
18 Marieschi tra Canaletto e Guardi, op. cit., p. 221.
19 Manzelli, op. cit., as well as an opinion expressed in correspondence.
20 Conservation of MarieschFs works is being conducted by Dorota Plis, to whom I am grateful
94