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#0107
9. Michele Marieschi,
Pałace of the Doges,
the fourth autoradiograph
(Phoł. Wiesław Wudzki)
yellow, and painted the wali of the Pałace of the Doges with a mixture of yellow
with white lead, after which he variegated its texture with pinches of ginger.
An identical use of Naples yellow is visible in the first autoradiograph
(sprinkled with grains of pigment) as well as the fourth autoradiograph
(impasto and underpainting with characteristic texture) in the Architectonic
Fantasy.
After detailed analysis of the technical structure, painting materials and the
artistic effects linked with them in The Pałace of the Doges, the Ponte Rialto,
and two Architectonic Fantasies, the research program analysed two Caprices
(ill. 10, ll)2b considered by Francesco Valcanover as pastiches,2 but by Dario
Succi as imitations of a work by Michele Marieschi, perhaps the work of
Albotto.2s The paintings were linked to the oeuvre of Michele Marieschi and
held in distinction for the freedom of their painterly ąualities first by Jan
Białostocki,24 Janina Michałkowa, 0 and Ralph Toledanod1
26 Caprice (Coastal Landscape), inv. no. 184840, 36.5 x 57 cm, as well as Caprice (Coastal
Landscape) inv. no. 184841,36.5 x57cm; both originally from the State Art Collections in Warsaw.
21 Valcanover, op. cit., p. 249.
28 Marieschi tra Canaletto e Guardi, op. cit., p. 221, and cat. nos. 44 and 45.
29 Wystawa malarstwa włoskiego, op. cit., cat. nos. 60 and 61.
30 Malarstwo weneckie XV-XVIII iv., op. cit., cat. nos. 114 and 115.
31 Toledano, op. cit., nos C3 and C54.
101
Pałace of the Doges,
the fourth autoradiograph
(Phoł. Wiesław Wudzki)
yellow, and painted the wali of the Pałace of the Doges with a mixture of yellow
with white lead, after which he variegated its texture with pinches of ginger.
An identical use of Naples yellow is visible in the first autoradiograph
(sprinkled with grains of pigment) as well as the fourth autoradiograph
(impasto and underpainting with characteristic texture) in the Architectonic
Fantasy.
After detailed analysis of the technical structure, painting materials and the
artistic effects linked with them in The Pałace of the Doges, the Ponte Rialto,
and two Architectonic Fantasies, the research program analysed two Caprices
(ill. 10, ll)2b considered by Francesco Valcanover as pastiches,2 but by Dario
Succi as imitations of a work by Michele Marieschi, perhaps the work of
Albotto.2s The paintings were linked to the oeuvre of Michele Marieschi and
held in distinction for the freedom of their painterly ąualities first by Jan
Białostocki,24 Janina Michałkowa, 0 and Ralph Toledanod1
26 Caprice (Coastal Landscape), inv. no. 184840, 36.5 x 57 cm, as well as Caprice (Coastal
Landscape) inv. no. 184841,36.5 x57cm; both originally from the State Art Collections in Warsaw.
21 Valcanover, op. cit., p. 249.
28 Marieschi tra Canaletto e Guardi, op. cit., p. 221, and cat. nos. 44 and 45.
29 Wystawa malarstwa włoskiego, op. cit., cat. nos. 60 and 61.
30 Malarstwo weneckie XV-XVIII iv., op. cit., cat. nos. 114 and 115.
31 Toledano, op. cit., nos C3 and C54.
101