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Zagadnienia technologiczne w twórczości Hermana Hana

100%

Szolginia L.

Ochrona Zabytków

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1973

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issue 4

248-255

EN

In his present article the author deals with problems relating to the creative workshop of an artist acting at the court of the Polish King Sigismund III and also with influences of the contemporary West European painters’ circles that could determine the artistic personality of that painter. The possibility to actively participate in conservation works that were aimed at safeguarding in 1955 of the main altar of Pelplin Cathedral containing the works of Herman Han enabled the author to become thoroughly familiar with Han’s workshop techniques. As a result of the continued works at numerous paintings by the same artist (his work, among the others, is that titled „Coronation”) it has become possible for the author to extend his studies on structure of works by that artist. The author discusses in detail the kinds of supports that are typical for Han’s paintings, the structure of wood used for panels, its age, manners of its treatment as well as of its preparation including the selection of suitable materials, joining of the separate elements, their thickness, sizes and s.o. The painter’s grounds laid on supports, the ways used to achieve a genuine artistic effect that resulted from techniques developed by Han himself and also from a palette in the common use in times of the early Baroque are dealt with by the author on a background of the artist’s works whom he studied at the time of several preservations. A good deal of the author’s considerations is devoted to overpaintings (pentimenta) made by the artist himself as well as to precursory solutions applied in composition that were dictated by both fashion prevailing in the period and the artist’s creative invention and to negative consequences of the erroneous technological concepts and conditions under which the works were kept that altogether had a deciding effect on the state of their preservation. As an entirely separate problem is to be considered that of anonymity of master as the paintings are devoid of signatures; the only exception being the Latin text written with Herman Han’s hand on the reverse of „Adoration by Angels” ornating the predella of the main altar in the parish church, Czersk. Summarizing his considerations the author emphasizes that in view of the fact that there exist the considerable numbers of works by that painter which have not yet been investigated or thosç that may still be found in other places both artistic and technological problems arising from quite extraordinary artistic personality of Herman Han must be handled as those still open for discussion.

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KORONACJA NAJŚWIĘTSZEJ MARII PANNY Z KOŚCIOŁA P.W. ŚW. TRÓJCY W JEŻEWIE. DOMNIEMANY OBRAZ HERMANA HANA W ŚWIETLE BADAŃ HISTORYCZNYCH I TECHNOLOGICZNYCH

75%

Flik J., Olszewska-Świetlik J., Tylicki J.

Ochrona Zabytków

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2003

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issue 3-4

73-85

EN

The first part of the paper presents a historical, stylistic and iconographic analysis of the painting. Identifying several depicted figures, the author dates the composition c. 1630 and establishes its provenance from north-eastern areas of the province of Greater Poland, whereas its creator should have rather been a follower of then fashionable Danzig painter Hermann Han, active in that region. While dependent on Han in construction principles, and resorting to employing motifs from early Flemish Counter- Reformation prints, also used by the latter in his art, the picture displays some originality in iconography. A Han-inspired apotheosis of contemporary Catholic society and the Polish state, reflecting the divine order in its spiritual and secular supporters, it shows an unusual trait in laying direct emphasis on the role of Virgin Mary in Passion and Salvation. Subsequently, the technical construction of the canvas is discussed. To these ends, complex research was undertaken, including physical examination in UV and infrared, as well as chemical and instrumental studies, including priming through the painted layers. Its results, especially the disclosure of the manner in which the layers of paint were placed one upon another, corroborate the thesis that the painting has been executed in a provincial workshop that continued the technical tradition of the sixteenth century. In the 1630’s, the encroaching newer constructional tendencies were still hampered in Northern, especially German milieus by older guild habits. Characteristically for northwestern Poland, the technical buildup of the canvas shows also some distinct Netherlandish influence. From both art historical and technical point of view, the Coronation from Je˝ewo can be therefore described as a typical but, simultaneously, an outstanding example of Counter-Reformation altar painting in the Polish Commonwealth.

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Metafory miłości w Portrecie patrycjuszki gdańskiej Antona Möllera

65%

Purc-Stępniak B.

Roczniki Humanistyczne

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2021

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vol. 69

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issue 4

93-133

EN

The Portrait of a Gdańsk Patrician, attributed to Anton Möller the Elder (c. 1563–1611), is still giving rise to discussion, and the identity of the lady portrayed has still not been established. The painting has an interesting iconography, illustrating both the Italian art that inspired it and the metaphors of various aspects of love present within it. The Portrait of a Gdańsk Patrician originally depicted a curtain with two knots, as revealed by IR photography. This iconographic detail has been overlooked by researchers, but it appears in seven portraits of other men, women and children painted by Anton Möller and his workshop and which have survived to this day. The article examines the Portrait, considering the motifs, attributes and clothing used in it. It is thus an introduction to the study of private portrait paintings which was in vogue in Gdańsk under the influence of the 16th century fashion in European painting, drawing on Italian aristocratic portraits of women. As the analysis of the portrait shows, the style of this work shows the influence of Dutch-German painting, while, from the point of view of iconography, it develops the pictorial model drawn from the tradition of Italian painting and graphics (Florence and Venice). This article also attempts to identify the woman portrayed as Maria Judita née Bahr, the wife of Johann Speymann.

PL

Portret patrycjuszki gdańskiej, przypisywany Antonowi Möllerowi Starszemu (ok. 1563-1611), budzi do dziś spory atrybucyjne, nie ustalono także tożsamości portretowanej. Obraz posiada interesującą ikonografię, wskazującą na inspiracje sztuką włoską i funkcjonującymi w niej metaforami różnych aspektów miłości. Na Portrecie patrycjuszki gdańskiej była pierwotnie przedstawiona kotara zaopatrzona w dwa węzły. Ujawniła to fotografia w świetle podczerwonym. Ten ikonograficzny szczegół nie został zauważony przez badaczy. Nie interesowano się nim w semantyce portretu, wystąpił jednak w siedmiu zachowanych do dziś, a malowanych przez Antona Möllera i jego warsztat portretach kobiet, mężczyzn i dzieci. Artykuł poddaje analizie Portret patrycjuszki gdańskiej z uwzględnieniem zastosowanych w nim motywów, atrybutów i ubioru. Jest to przyczynek do badań nad portretem prywatnym, który obowiązywał w Gdańsku pod wpływem mody panującej w XVI wieku w malarstwie europejskim, nawiązującym do włoskiego arystokratycznego portretu kobiet. Analiza konterfektu zwraca uwagę, że ta praca w swojej stylistyce wykazuje wpływ malarstwa niderlandzko-niemieckiego, natomiast w ikonografii rozwija model obrazowy zaczerpnięty z tradycji malarstwa i grafiki włoskiej (Florencja i Wenecja). Jest także próbą identyfikacji portretowanej jako żony Johanna Speymanna, Marii Judity z Bahrów.

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2 Ochrona Zabytków

1 Roczniki Humanistyczne

1 Flik J.

1 Olszewska-Świetlik J.

1 Purc-Stępniak B.

1 Szolginia L.

1 Tylicki J.

1 2021

1 2003

1 1973

Zagadnienia technologiczne w twórczości Hermana Hana

KORONACJA NAJŚWIĘTSZEJ MARII PANNY Z KOŚCIOŁA P.W. ŚW. TRÓJCY W JEŻEWIE. DOMNIEMANY OBRAZ HERMANA HANA W ŚWIETLE BADAŃ HISTORYCZNYCH I TECHNOLOGICZNYCH

Metafory miłości w Portrecie patrycjuszki gdańskiej Antona Möllera