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#0102
'M.
3. Michele Marieschi,
m
Archiłecłonic Fantasy,
p
the first autoradiograph
(Phot. Wiesław Wudzki)
regarded as peculiar to Michele Marieschr s workshop, while the polychrome
is composed of two and sometimes three layers founded, based on a mixture,
of usually three thickly grounded pigments. They are mainly earth pigments
and organie colours. Regardless of the colour of paint, all the paintings contain
gold grains of Naples yellow; the painter used animal glue as a binder in
the ground layer and stone-fruit tree gum for the underpainting of the
composition, followed by tempera finish in gum and walnut-oil techniąue.
An essential feature of works found only in paintings issuing from
MarieschFs workshop, and later Albotto’s, was a specific way of creating
texture - both painters enhanced the texture of the painting by pressing their
fingertips in the wet paint. The workshops of other Venetian landscape-
-painters such as Antonio Canaletto or Francesco Guardi used different
techniąues for achieving textures and effects of light reflected and vibrating
on buildings, ruins, and rocks. The most freąuently used method was textural
application of paint during the undercoating stage, leaving traces of broad, fiat
brushstrokes. The method used in MarieschFs workshop created a much
richer texture, with smaller traces placed closed together in thick pigment,
sińce the fingertip pressing permitted a very precise breakdown of light and
the creation of texture in the format of smali works. X-rays have facilitated
the exact discernment of traces of finger pressing creating the surface texture.
On the X-ray radiography traces from the layer of the gray base stand out the
strongest, thanks to their content of white lead (ill. 4). They appear in the parts
of the painting with the greatest lighting effects. This same method of
achieving texture in the paint is evident as well in the fourth autoradiograph,
thanks to the admixture of Naples gold used to create halftones.
96
3. Michele Marieschi,
m
Archiłecłonic Fantasy,
p
the first autoradiograph
(Phot. Wiesław Wudzki)
regarded as peculiar to Michele Marieschr s workshop, while the polychrome
is composed of two and sometimes three layers founded, based on a mixture,
of usually three thickly grounded pigments. They are mainly earth pigments
and organie colours. Regardless of the colour of paint, all the paintings contain
gold grains of Naples yellow; the painter used animal glue as a binder in
the ground layer and stone-fruit tree gum for the underpainting of the
composition, followed by tempera finish in gum and walnut-oil techniąue.
An essential feature of works found only in paintings issuing from
MarieschFs workshop, and later Albotto’s, was a specific way of creating
texture - both painters enhanced the texture of the painting by pressing their
fingertips in the wet paint. The workshops of other Venetian landscape-
-painters such as Antonio Canaletto or Francesco Guardi used different
techniąues for achieving textures and effects of light reflected and vibrating
on buildings, ruins, and rocks. The most freąuently used method was textural
application of paint during the undercoating stage, leaving traces of broad, fiat
brushstrokes. The method used in MarieschFs workshop created a much
richer texture, with smaller traces placed closed together in thick pigment,
sińce the fingertip pressing permitted a very precise breakdown of light and
the creation of texture in the format of smali works. X-rays have facilitated
the exact discernment of traces of finger pressing creating the surface texture.
On the X-ray radiography traces from the layer of the gray base stand out the
strongest, thanks to their content of white lead (ill. 4). They appear in the parts
of the painting with the greatest lighting effects. This same method of
achieving texture in the paint is evident as well in the fourth autoradiograph,
thanks to the admixture of Naples gold used to create halftones.
96