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Św. Roch odwiedzający chorych - tajemnice warsztatu malarskiego Martina Altomontego. Badania, technika, analiza porównawcza i konserwacja obrazu

100%

Modzelewska E.

Studia Wilanowskie

2020

vol. XXVII

35-59

The planned exhibition on Elżbieta Sieniawska, the second owner of Wilanów, provided an opportunity to conduct a comprehensive conservation and restoration of the exquisite work by Martino Altomonte, the painting St Roch Visiting the Sick. The painting, which in the past underwent several renovations, was reinforced with a lining of new canvas. Its composition regained its former aesthetic quality as the old re-paintings were removed and the missing fragments reconstructed. Physical and chemical analyses carried out using modern analytical equipment and techniques, including the noninvasive analyses, were an important part of the works undertaken by the Museum. The previously published results of the analyses of two other canvases by the same painter, The Battle of Vienna and The Battle of Párkány, made it possible to compare the painterly techniques applied by the artist at various stages of his creative career. The compositions of all paintings executed on coloured primers were first developed in the yellow ochre and grey tones, and then quickly finished in colours applied in two to three layers. Paints used by Altomonte contained primarily pigments obtained from natural coloured clays. Modified binding agents containing chicken egg and linseed oil enabled Altomonte to obtain the desired thickness of paint and to achieve the projected painterly effects. The hitherto technological analyses of the painting made it possible to establish further topics for future research projects. The issue of Altomonte's use of blue pigments is especially noteworthy. In his earlier works, those were various types of smalt and, to a limited extent, indigo and azurite. In the later period, the pigment he used was most probably Prussian blue, possibly indigo as well; this would need to be confirmed by a broader array of instrumental analytical methods. Apart from the blue pigments, the identification of ramie fibres in the canvas offers another interesting research topics. The use of ramie in European painting supports dating from the first half of the 18th century may become a topic for future exploration. The Italian-educated Martino Altomonte was very deliberate in his use of diverse methods and means of artistic work. In addition, at the basis of his adroit use of varied painterly matter lay his abilities as a draughtsman evident from his surviving sketches and painting designs. Sketch-like painterly presentations were also a characteristic element of his work.

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

51%

Gutowska-Dudek K., Modzelewska E., Strombek J., Kozakiewicz P.

Studia Wilanowskie

2019

vol. XXVI

119-152

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.

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2 Studia Wilanowskie

2 Modzelewska E.

1 Gutowska-Dudek K.

1 Kozakiewicz P.

1 Strombek J.

1 2020

1 2019

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Św. Roch odwiedzający chorych - tajemnice warsztatu malarskiego Martina Altomontego. Badania, technika, analiza porównawcza i konserwacja obrazu

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