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#0106
in the ground as well as gum from stone-fruit trees. The use of such gum tree
in the Venetian scenes served not only to emphasise the textural effects, but
also to achieve brilliance, freshness and an endurance of the colours not subject
to the ąuick changes in colour as pigments contaimng oil binder.
Another common feature of both pairs of works is the technical process of
painting, mainly the peculiar creation of texture in the bright parts of the
canvas by means of the finger-tips. In the compositions with the views of Venice
these traces are used chiefly to enhance and intensify light on the buildings,
bridges and Stones. In the Warsaw paintings there are only a few, concentrated
largely on the stone surfaces of buildings and the banks of the canals and the
bridge. These fingerprints are clearly yisible with the naked eye as well as in
the X-rays and autoradiographs.
Autoradiographs reveal such things as the extent of Naples yellow in the
canvas. The painter applied many of the finał impastos with this pigment, as
well as adding it in the form of thick grains to all the layers of paint. In the
first autoradiograph the numerous grains sprinkled throughout the surface are
precisely the dispersal of this pigment, noticeable thanks to the decay of
the first short-lived isotope antimone. In the fourth autogradiograph (ill. 9)
the composition of Naples yellow in the painting was registered, however, as
the result of the decay of the second long-life isotope of this element. It is
clearly obvious that the painter applied many impastos with pure Naples
8. Michele Morieschi,
The Pałace ofthe Doges,
detail of the first
autoradiograph
(Phot. Wiesław Wudzki)
100
in the Venetian scenes served not only to emphasise the textural effects, but
also to achieve brilliance, freshness and an endurance of the colours not subject
to the ąuick changes in colour as pigments contaimng oil binder.
Another common feature of both pairs of works is the technical process of
painting, mainly the peculiar creation of texture in the bright parts of the
canvas by means of the finger-tips. In the compositions with the views of Venice
these traces are used chiefly to enhance and intensify light on the buildings,
bridges and Stones. In the Warsaw paintings there are only a few, concentrated
largely on the stone surfaces of buildings and the banks of the canals and the
bridge. These fingerprints are clearly yisible with the naked eye as well as in
the X-rays and autoradiographs.
Autoradiographs reveal such things as the extent of Naples yellow in the
canvas. The painter applied many of the finał impastos with this pigment, as
well as adding it in the form of thick grains to all the layers of paint. In the
first autoradiograph the numerous grains sprinkled throughout the surface are
precisely the dispersal of this pigment, noticeable thanks to the decay of
the first short-lived isotope antimone. In the fourth autogradiograph (ill. 9)
the composition of Naples yellow in the painting was registered, however, as
the result of the decay of the second long-life isotope of this element. It is
clearly obvious that the painter applied many impastos with pure Naples
8. Michele Morieschi,
The Pałace ofthe Doges,
detail of the first
autoradiograph
(Phot. Wiesław Wudzki)
100