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DOI Artikel:Grochowska-Angelus, Anna: O konserwacji obrazu Lorenza Lotta Adoracja Dzieciątka ze zbiorów Muzeum Narodowego w Krakowie
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21224#0134
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Anna Grochowska-Angelus
CONSERVATlON OF LORENZO LOTTO'5 PAINTING
ADORATION OF THE CHILD
FROM THE COELECTTON5 OF THE NATIONAE MUSEUM
IN CRACOW
S ummary
One of the most valuable Renaissance paintings in Poland is Lorenzo Lot-
to^ Adoration of the Child, one of his earliest works completed about 1508. It
was first acknowledged as such by a renowned analyst of the Renaissance pe-
riod, Bernard Berenson in his book in 1901, and confirmed visually when he vi-
sited the residence of Count Puslowski in Cracow in 1908.
Further research showed that the painting came from the most prominent
collectors of the 17th century, Don Caspar de Haro y Guzman from Spain, but
appeared in Poland two hundred years later. The painting was restored in 1996
in preparation for an exhibition of Lorenzo Lotto’s works in Washington, Bergamo,
and Paris, which discovered a green curtain behind the figures as a signature
motif used by Lorenzo Lotto.
The painting now resides at the Gallery of West-European Painting in the
Princes Czartoryski Museum, a branch of the National Museum in Cracow.
A.G.-A.
Anna Grochowska-Angelus
CONSERVATlON OF LORENZO LOTTO'5 PAINTING
ADORATION OF THE CHILD
FROM THE COELECTTON5 OF THE NATIONAE MUSEUM
IN CRACOW
S ummary
One of the most valuable Renaissance paintings in Poland is Lorenzo Lot-
to^ Adoration of the Child, one of his earliest works completed about 1508. It
was first acknowledged as such by a renowned analyst of the Renaissance pe-
riod, Bernard Berenson in his book in 1901, and confirmed visually when he vi-
sited the residence of Count Puslowski in Cracow in 1908.
Further research showed that the painting came from the most prominent
collectors of the 17th century, Don Caspar de Haro y Guzman from Spain, but
appeared in Poland two hundred years later. The painting was restored in 1996
in preparation for an exhibition of Lorenzo Lotto’s works in Washington, Bergamo,
and Paris, which discovered a green curtain behind the figures as a signature
motif used by Lorenzo Lotto.
The painting now resides at the Gallery of West-European Painting in the
Princes Czartoryski Museum, a branch of the National Museum in Cracow.
A.G.-A.