Billeder
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| Glockengiesser Epitaph i St. Lorenz, Nürnberg.
Infrarødt foto, som viser at kunstneren har ændret placeringen af Jesusbarnets arm. Schleif and Schier recently were asked to photograph and analyze the Glockengiesser epitaph in St. Lorenz Church in Nuremberg, which was painted shortly after the death of its honoree, Agnes Glockengiesser, in 1433.
"The epitaph, or memorial painting, depicts the 'Dormition of the Virgin,' or the death of Mary," Schier said. "In this case, infrared photographs were important since the restorers had determined that large parts of the floor but also some of the mantles and tunics had been painted over in the 19th century. During the restorations these added layers were removed. In order to prepare the removal of paint layers it is essential to have information about the layers below."
Sometimes, whole paintings disappear under new artwork – for example, when Lutheran scenes were painted over Catholic ones after the Reformation.
"In the 17th century several paintings from the 15th century in Nuremberg churches were completely painted over with new motifs," Schier said. "Restorers had noticed this and they had removed small patches of the surface paint layers at some less obtrusive parts of the paintings. This provided the proof that there were different paintings underneath but of course these approximately 1-by-2-inch patches do not provide any information about the iconography."
With infrared photography, Schier and Schleif could determine what was under the more modern paint, and then let the restorers decide what to do. In the case of these particular artworks, the restorers are have not yet made a decision about their strategy.
Infrared images also can give hints into the working of the artist's mind. In the Glockengiesser epitaph, for example, the artist's initial design for the sleeve of Christ's tunic was different from the later execution, Schier said. "The left sleeve was initially drawn much lower. The artist then corrected this and lifted the arm of Christ, and he also made the sleeve much longer.
"Infrared allows you to look through the painting process. You see the different steps involved in it. You can see the underdrawings," Schleif said. "You can ask the question of who did the underdrawing? Sometimes the master did the underdrawings and apprentices completed the works. You can study the styles of underdrawings, and attribute them."
The approximate age of a painting can also be revealed through infrared photography, particularly when certain pigment colors are examined.
For example, if the camera can "see" through the blue, it is almost certainly a paint made of lapis lazuli, not azurite. Lapis was a luxury product since it had to be imported from Afghanistan, while azurite was mined in several locations in Europe. "If I can't get through," Schier said, "it's azurite.
"I think the basic question about lapis and azurite was how much a donor wanted to spend on a painting. If lapis was used, the donor had a lot of money."
Possible misunderstandings between patrons and artists also can be detected, as can places in the painting where the artist changed his mind.
Kilde: Art detectives see behind the paintby Judith Smith
Monday, 20 June 2011 |