Madonna del Velo z przedstawieniem kardynała Paola Emilia Sfondratiego ze zbiorów wilanowskich w świetle ostatnich prac badawczych i konserwatorskich

• Authors: Krystyna Gutowska-Dudek , Elżbieta Modzelewska , Joanna Strombek , Paweł Kozakiewicz

Title variants

EN

Madonna del Velo with the portrait of Cardinal Paolo Emilio Sfondrati, extant in the Wilanów collection, in the light of recent research and conservation works

Abstracts

EN

A valuable work associated with the output of Raphael is extant in the collection of the Museum of King Jan III's Palace at Wilanów. It constitutes a repetition of The Holy Family, a work by the Urbino master which used to be located in the church of Santa Maria del Popolo in Rome and which has been considered lost. The painting, also known as the Madonna del Velo, is now believed to be one and the same as The Holy Family or, as an alternative name, La Madone de Lorette, currently in Musée Condé in Chantilly. The history of Raphael's original is complex and often mysterious. Over a hundred of its copies and variants are known. Enchanted with the beauty of this work, Cardinal Paolo Emilio Sfondrati (1560-1618), a presbyter of the church of Santa Cecilia in Trastevere, purchased it in 1591 and allegedly commissioned two copies of it for his brothers. The author added the figure of an angel and a portrait of the cardinal to Raphael's original composition. The links known to have existed between Cardinal Sfondrati and the outstanding Baroque painter Guido Reni (1575-1642), as well as extant drawings and prints, have promoted the conjecture that he might be the author of this exceptional work. However, an exhaustive study of Guido Reni's output and a careful investigation of archive materials in Poland and in Italy are required to determine its authorship. The painting arrived in Wilanów around the middle of the 19th century, when the palace was owned by Count and Countess August Potocki. Four articles pertain to one of the most interesting, and most valuable, paintings in the Wilanów collection, the Madonna del Velo, discussing various issues linked with its history, its study and its conservation. The Wilanów version is particularly interesting because of its high artistic quality and the fact that it shares some stylistic features with works by Raphael considered to be its prototypes. The technological structure of the Wilanów painting and the materials used in its making were investigated in the course of a research project and with the involvement of many scholars representing various areas of expertise. Analyses were conducted which made it possible to describe the board used as the painting surface, the pigments and the binding agents of the painting's layers, which is of considerable importance in further research on the workshop that produced the work. An account of the recent conservation interventions involving this painting is appended to the material.

Keywords

EN

Madonna del Velo; painting; Cardinal Paolo Emilio Sfondrati; Wilanów; Potocki family; historical research; conservation research; technical research; painting materials; panel painting surface; pigments; binding agents; painting technology; identification of wood; board construction; poplar wood; chestnut wood; consolidation; wax; water damage; unstable paint layer

• Publisher: Muzeum Pałacu Króla Jana III w Wilanowie
• Journal: Studia Wilanowskie
• Year: 2019
• Volume: XXVI
• Pages: 119-152

Dates

published

2019

Contributors

author

Krystyna Gutowska-Dudek

• Muzeum Pałacu Króla Jana III w Wilanowie

author

Elżbieta Modzelewska

• Muzeum Pałacu Króla Jana III w Wilanowie

author

Joanna Strombek

• Stichting Restauratie Atelier Limburg (SRAL), Maastricht

author

Paweł Kozakiewicz

• Katedra Nauki o Drewnie i Ochrony Drewna, Wydział Technologii Drewna, Szkoła Główna Gospodarstwa Wiejskiego w Warszawie

References

• Artists’ Pigments c. 1600–1835, red. R.D. Harley, Londyn 1982.
• Berg K.J. van den, Eikema Hommes M. van, Cooper green glazes, w: A Multidisciplinary NWO PRIORITEIT Project on Molecular Aspects of Ageing in Painted Works of Art. Final report and highlights 1995–2002, red. M. Clarke, J. Boon, Amsterdam 2003.
• Bratasz Ł., Acceptable and non-acceptable microclimate variability: the case of wood, w: Basic Environmental Mechanisms Affecting Cultural Heritage, red. D. Camuffo, V. Fassina, J. Havermans, Florence 2010, s. 49–58.
• Colour Change in Paintings, red. R. Clarricoates, H. Dowding, A. Gent, London 2016.
• Czajewski W., Ilustrowany przewodnik po Warszawie i okolicach. Willanów, Czerniaków, Morysin, Gucin, Natolin. Wraz ze szczegółowym spisem 1000 obrazów z Galeryi Wilanowskiej, Warszawa 1893.
• Delamare F., Blue Pigments. 5000 Years of Art and Industry, London 2013.
• Dussier J., Raphael. A Critical Catalogue of his Pictures. Wall Paintings and Tapestries, London–New York 1971.
• Dzik J., Nieznane dwa wizerunki maryjne oraz widoki Lwowa z biblioteki klasztoru reformatów przy kościele św. Antoniego Padewskiego w Przemyślu, „Hereditas Monasteriorum”, 3, 2013, s. 219–230.
• E.F. Hansen, Hearns Bishop M., Factors affecting the re-treatment of previously consolidated matte painted wooden objects, w: Painted Wood. History and Conservation, red. V. Dorge, F. Carey Howlett, Los Angeles 1998, s. 490.
• Fredericksen B., New information on Raphael’s Madonna di Loreto, „J. Paul Getty Museum Journal”, 3, 1976, s. 5–45.
• Freeman E.B., Domenichino’s Scenes from the Life of St. Cecilia: Artistic Interpretation and the Counter-Reformation, Austin 2008.
• Gallagher K., An Expression of Piety: The Last Will of Cardinal Emilio Sfondrato (1561–1618), „Papers of the British School at Rome”, 67, 1999, s. 303–321.
• Gettens R.J., Stout G.L., Painting Materials. A Short Encyclopedia, New York 1966.
• Gettens R.J., West Fitzhugh E., Azurite and Blue Verditer, w: Artists’ Pigments. A Handbook of Their History and Characteristics, t. 2, red. A. Roy, London 1993.
• Gould C., Afterthoughs on Raphael’s so-Called Loreto Madonna, “The Burlington Magazine Publication”, 122, 1980, nr 926, s. 336–339+341.
• Grabar I., „Madonna del Popolo” Raphaela i Madonna iż Niznego Taghila, Moskwa 1928.
• Gregus P., Holzanatomie der europäischen Laubhölzer und Sträucher, Budapest 1959.
• Grosser D., Holzanatomische Untersuchungsverfahren an kunstgeschichtlichen und archäologischen Objekten, „Maltechnik-Restauro”, 80, 1974, nr 2, s. 68-86.
• Higgitt C., White R., Analyses of Paint Media: New Studies of Italian Paintings of the Fifteenth and Sixteenth Centuries, „National Gallery Technical Bulletin”, 26, 2005, s. 88–97.
• Kozakiewicz P., Matejak M., Klimat a drewno zabytkowe - dawna i współczesna wiedza o drewnie, Warszawa 2013 (wyd. 4 zmienione).
• Krupska A., Tajemnice warsztatu włoskiego z kręgu bolońskiego XVI/XVII w., Warszawa 2001.
• Kühn H., Verdigris and Copper Resinate, w: Artists’ Pigments c. 1600–1835, red. R.D. Harley, Londyn 1982, s. 131–147.
• La Madone de Lorette, Musée Condé, Chantilly, 16 octobre 1979–15 janvier 1980, ed. S. Béguin, S. Bergeon, R. Cazelles, S. Delbourgo et al., Paris 1979.
• Madonny w Muzeum wilanowskim, Warszawa 2006.
• Malarstwo europejskie, Katalog zbiorów 2, oprac. A. Chudzikowski et al., pod kier. J. Białostockiego, Warszawa 1967.
• Malarstwo francuskie, niderlandzkie, włoskie do 1600. Katalog zbiorów. Muzeum Narodowe w Warszawie, oprac. J. Białostocki, M. Skubiszewska, Warszawa 1979.
• Malvasia C.C., Felsina Pittrice, vite de’pittori bologneses, Bolonia 1841 (1678), t. 2.
• Marette J., Connaissance des primitifs par l'étude du bois, du XIIe au XVIe siècle, Paris 1961.
• Marriott S., Material Focus. Lascaux 4176 Medium for Consolidation, „The Picture Restorer”, nr 37, 2010, s. 34–35.
• Matejak M., Podobrazia drewniane, „Muzealnictwo”, 1995, nr 37, s. 110-119.
• Modzelewska E., „Dokumentacja Konserwacji Obrazu Madonna del Velo”, Dok. Kons. 2206/K, Warszawa 1991.
• Olszewska-Świetlik J., Warsztat malarski Mistrza ołtarza ze Strzegomia (1486/87), Toruń 2002.
• Pease M., Treatment for panel paintings, „The Metropolitan Museum of Art Bulletin”, 7, 1948, nr 4, s. 119–124.
• Pergola P. Della, Arte Antice e Moderna, Firenze 1964.
• Piękno za woalem czasu, katalog wystawy, red. E. Birkenmajer, J. Kurzyńska et al., Warszawa 2001.
• Schniewind A., Consolidation of wooden panels, w: The Structural Conservation of Panel Paintings Proceedings of a Symposium at the J. Paul Getty Museum, red. K. Dardes, A. Rothe, Los Angeles 1998.
• Schweingruber F.H., Microscopic wood anatomy, Structural variability of stems and twigs in recent and subfossil woods from Central Europe, Birmensdorf 1990 (wyd. 3).
• Skimborowicz H., Gerson W., Willanów. Album widoków i pamiątek oraz Kopje z obrazów Galeryi Willanowskiej wykonane na drzewie w Drzeworytni Warszawskiej z dodaniem opisów określonych przez H. Skimborowicza i W. Gersona, Warszawa 1877.
• Stacchioli S., „Amor sacro e profano” nella Galleria Borghese, w: Tiziano: amor sacro e profano, kat. wyst., Milan 1995.
• Stępień D., Tempera żółtkowa jako technika w malarstwie sztalugowym, według dawnych przekazów i twórczości wybranych współczesnych artystów, Warszawa 2010
• Sztuka czasów Michała Anioła. Wystawa w czterechsetletnią rocznicę śmierci artysty. Katalog, grudzień 1963 – marzec 1964, Muzeum Narodowe w Warszawie, oprac. J. Białostocki et al., Warszawa 1963.
• Trochimowicz A., Wpływ parkietaży na odkształcenia podobrazi drewnianych i stan zachowania warstw malarskich, Warszawa 2014.
• Vasari G., Le Vite de piu eccellenti Architetti, Pittori, et Scultori Italiani, Firenze 1568, wyd. C. Milanesi, t. 1–9: Firenze 1878–1885, przedr. 1973.
• Wagenführ R., Holzatlas. 6. neu bearbeitete und erweiterte Auflage, Leipzig 2007.

Identifiers

DOI

10.36135/MPKJIII.01377329.2019.SWXXVI.pp.119-152

Biblioteka Nauki

1968048