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Zagadnienia technologiczne w twórczości Hermana Hana

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Szolginia L.

Ochrona Zabytków

1973

issue 4

248-255

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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1 Ochrona Zabytków

1 Szolginia L.

1 1973

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Zagadnienia technologiczne w twórczości Hermana Hana