Analiza technologiczna obrazu Sąd Midasa ze zbiorów Muzeum Lubelskiego w Lublinie - porównanie z warsztatem Gerrita van Honthorsta i innych caravaggionistów Utrechckich
2021, Wokół zagadnień warsztatu artysty Tom 2 Malarza rzeźbiarza architekta
The Judgment of Midas comes from the collection of Lublin Museum. The painting from Lublin Museum is a high-quality artwork whose authorship was not determined for a very long time. Many scholars, like Jan Białostocki, have emphasised the quality of the work, but an attempt to determine its author to Gerrit van Honthorst was not made until Filip Chmielewski article. Beyond Italy’s borders, the most significant Caravaggesque artistic centre was the Dutch city of Utrecht. Caravaggism was easily adopted by northern artists without the need to abandon their own artistic heritage, as Caravaggio himself came under the influence of Northern European painting traditions. At the beginning of their careers, Ter Brugghen, Honthorst, Van Baburen, Jan van Bijlert, Jan van Bronchorst, and Jan ter Borch absorbed Caravaggio’s style in Rome by directly studying either his works or the works of his Roman followers. Over time these artists began to abandon tenebrism in favour of using a brighter colour palette. The Caravaggisti usually worked on brown or red-brown grounds, mostly applied wet-on-wet in two layers. In Utrecht a very different method of preparing painting surfaces was dominant. The general practice was to lay down two coats of ground. The ground was much cooler and lighter in colour than those used by Caravaggio and his Italian followers, making the chiaroscuro effect much less prominent. The research have helped to confirm the authorship of Honthorst’s and was conducted as part of an exploratory project: Technique and technology of Caravaggisti paintings based on Polish museum collections. The project was financed by the National Science Centre (2013/09/N/HS2/02116, PRELUDIUM V).
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