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#0104
5. Michele Marieschi,
Architedonic Fantasy,
the fourth autoradiograph
(Phoł. Janusz Rosikoń)
Succi2' on the basis of stylistic analysis. They belong to a large group of views
of Venice which began to appear in the master’s workshop in 1735. Detailed
technological examination of these paintings revealed a variety of common
technical features in the structure of the aforementioned architectonic
fantasies. The use of painterly materiał in both pairs of paintings is very similar,
but not identical, which is understandable with regard to the differences in the
colours of the compositions.
The generał principle of composition of the examined pair of paintings is
nevertheless the same: a red ground, a grey underpainting (generally darker
in the Architectonic Fantasies) or a white underpainting (in the brighter views
of Venice: Ponte Rialto and The Pałace ofthe Doges), as well the fundamentally
two layers of paint constructed from mixture of two or three thick-grained
earth pigments and organie colours with the addition of Naples yellow
granules in all the layers.
However, the painting binder is the same, which much morę convincingly
argues for the recogmtion of the paintings as works from the same workshop
than does the use of pigments. In both pairs the binder is identical: animal glue
National Museum in Warsaw sińce 1946.
25 Marieschi tra Canaletto e Guardi, op. cit., p. 119.
98
Architedonic Fantasy,
the fourth autoradiograph
(Phoł. Janusz Rosikoń)
Succi2' on the basis of stylistic analysis. They belong to a large group of views
of Venice which began to appear in the master’s workshop in 1735. Detailed
technological examination of these paintings revealed a variety of common
technical features in the structure of the aforementioned architectonic
fantasies. The use of painterly materiał in both pairs of paintings is very similar,
but not identical, which is understandable with regard to the differences in the
colours of the compositions.
The generał principle of composition of the examined pair of paintings is
nevertheless the same: a red ground, a grey underpainting (generally darker
in the Architectonic Fantasies) or a white underpainting (in the brighter views
of Venice: Ponte Rialto and The Pałace ofthe Doges), as well the fundamentally
two layers of paint constructed from mixture of two or three thick-grained
earth pigments and organie colours with the addition of Naples yellow
granules in all the layers.
However, the painting binder is the same, which much morę convincingly
argues for the recogmtion of the paintings as works from the same workshop
than does the use of pigments. In both pairs the binder is identical: animal glue
National Museum in Warsaw sińce 1946.
25 Marieschi tra Canaletto e Guardi, op. cit., p. 119.
98