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#0103
4. Michele Marieschi,
Architectonic Fantasy,
X-ray by
Dr Jan Rutkowski
(Phot. Wiesław Wudzki)
Another characteristic feature of the Marieschi’s workshop was the use of
gum as a binder. It was certainly chosen consciously, sińce it enabled the painter
to achieve specific artistic effects through the relatively simple and mechanical
system of work. Thanks to the use of gum as a binder, the finger traces created
a painted layer without harshness. They produce a reverberating texture,
appropriate in the painting for parts of a wali, or rocks, upon which precsiely
expressed contours were later applied with thin lines. This binder also
permitted very quick drying and application of successive layers accelerating
the process of painting, which was certainly immeasurably important in
Marieschi’s workshop.
The structure of the painting described above permits an understanding of
the manner in which the painter accomplished his intended artistic expression.
The red colour of the ground does not create the colour effects of the painting.
The most important layer, however, is the grey and golden underpainting, used
on the entire surface of the canvas to create light effects (there are also
finger-pressings within it creating texture). Next all the shadows and generally
dark tonę of the composition were achieved through thick variously coloured
glazes, applied on a grayand golden underpainting. The primary modelling
was finished by applying the lines indicating the architecture and defining its
details. The figures created with free impasto were added last to the painting.
Two scenes of Venice, The Pałace of the Doges (ill. 6) and Ponte Rialto
(ill. 7)24 were attributed to the oeuvre of Michele Marieschi by Dario
24 The Pałace of the Doges, in. no. M.Ob.1074, 41 x 52 cm, as well as Ponte Rialto, inv. no.
M.Ob.1075, 41 x 52 cm; both originally from the Potocki collection in Krzeszowice; in the
97
Architectonic Fantasy,
X-ray by
Dr Jan Rutkowski
(Phot. Wiesław Wudzki)
Another characteristic feature of the Marieschi’s workshop was the use of
gum as a binder. It was certainly chosen consciously, sińce it enabled the painter
to achieve specific artistic effects through the relatively simple and mechanical
system of work. Thanks to the use of gum as a binder, the finger traces created
a painted layer without harshness. They produce a reverberating texture,
appropriate in the painting for parts of a wali, or rocks, upon which precsiely
expressed contours were later applied with thin lines. This binder also
permitted very quick drying and application of successive layers accelerating
the process of painting, which was certainly immeasurably important in
Marieschi’s workshop.
The structure of the painting described above permits an understanding of
the manner in which the painter accomplished his intended artistic expression.
The red colour of the ground does not create the colour effects of the painting.
The most important layer, however, is the grey and golden underpainting, used
on the entire surface of the canvas to create light effects (there are also
finger-pressings within it creating texture). Next all the shadows and generally
dark tonę of the composition were achieved through thick variously coloured
glazes, applied on a grayand golden underpainting. The primary modelling
was finished by applying the lines indicating the architecture and defining its
details. The figures created with free impasto were added last to the painting.
Two scenes of Venice, The Pałace of the Doges (ill. 6) and Ponte Rialto
(ill. 7)24 were attributed to the oeuvre of Michele Marieschi by Dario
24 The Pałace of the Doges, in. no. M.Ob.1074, 41 x 52 cm, as well as Ponte Rialto, inv. no.
M.Ob.1075, 41 x 52 cm; both originally from the Potocki collection in Krzeszowice; in the
97