The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling
The triptych The Last Judgement from the National Museum in Gdańsk is one of the most mysterious of the Flemish Renaissance works of the 15th century. Since the late 1960s, based on conservation research, art historians have known that another painting lays underneath the work. Until 2012-2014, howe...
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| Ngôn ngữ: | Anglais |
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2019
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openedition-oai:revues.org:techne_756 |
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| record_format |
openedition |
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OpenEdition Journal |
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Anglais |
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Article ou chapitre numérique |
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0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
X-ray diffraction (XRD) multilayer paintings techniques van der Weyden (Rogier) Memling (Hans) Northern Renaissance visible light photography IR reflectrometry UV fluorescence photography X-ray radiography MNIR ultraviolet-visible (UV-VIS) reflectance and fluorescence spectroscopy Measurement of luminescence decay lifetime with time-correlated single-photon counting (TCSPC) Fourier Transform near- and mid-infrared reflectance spectroscopy X-ray fluorescence (XRF) energy dispersive spectrometry (EDS) Optical Coherent Tomography (OCT) scanning electron microscopy (SEM) superposition de couches van der Weyden (Rogier) Memling (Hans) Renaissance septentrionale photographie en lumière visible réflectrométrie infrarouge photographie en fluorescence d’ultraviolets proche et moyen infrarouge (PIR et MIR) spectroscopie ultraviolet-visible mesure de la durée de vie de luminescence par comptage de photons uniques corrélés en temps (CPUCT) microscopie électronique à balayage (MEB) spectroscopie à dispersion d’énergie (SDE) spectroscopie à transformée de Fourier en proche et moyen infrarouge fluorescence des rayons X (FRX) diffraction des rayons X (DFR) tomographie par cohérence optique (TCO) |
| spellingShingle |
X-ray diffraction (XRD) multilayer paintings techniques van der Weyden (Rogier) Memling (Hans) Northern Renaissance visible light photography IR reflectrometry UV fluorescence photography X-ray radiography MNIR ultraviolet-visible (UV-VIS) reflectance and fluorescence spectroscopy Measurement of luminescence decay lifetime with time-correlated single-photon counting (TCSPC) Fourier Transform near- and mid-infrared reflectance spectroscopy X-ray fluorescence (XRF) energy dispersive spectrometry (EDS) Optical Coherent Tomography (OCT) scanning electron microscopy (SEM) superposition de couches van der Weyden (Rogier) Memling (Hans) Renaissance septentrionale photographie en lumière visible réflectrométrie infrarouge photographie en fluorescence d’ultraviolets proche et moyen infrarouge (PIR et MIR) spectroscopie ultraviolet-visible mesure de la durée de vie de luminescence par comptage de photons uniques corrélés en temps (CPUCT) microscopie électronique à balayage (MEB) spectroscopie à dispersion d’énergie (SDE) spectroscopie à transformée de Fourier en proche et moyen infrarouge fluorescence des rayons X (FRX) diffraction des rayons X (DFR) tomographie par cohérence optique (TCO) Szmelter, Iwona The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling |
| description |
The triptych The Last Judgement from the National Museum in Gdańsk is one of the most mysterious of the Flemish Renaissance works of the 15th century. Since the late 1960s, based on conservation research, art historians have known that another painting lays underneath the work. Until 2012-2014, however, identification and seeing all hidden image in detail has been impossible. There are no known historical sources making specific reference to the origin of this work. Its authorship has often been questioned. Since Hotho’s hypothesis of 1843, the painting is regularly attributed to Hans Memling. The earliest and only certain date in the history of the triptych is the 27 April 1473, the date when it was seized by pirates at sea during its transportation from the port of Bruges to Badia Fiesolana near Florence. As a Hanseatic spoil of war, the triptych passed to St. Mary’s Basilica in Gdańsk. The artwork was analysed from a number of perspectives, ranging from a humanistic enquiry to its physico-chemical properties. It was found that the triptych was painted with a multilayer tempera-oil technique on oak support. Dendrochronological work by Tomasz Ważny showed that the oak support was prepared for painting at the end of 1460. The results of these tests facilitate a fresh approach to the dating of the work and a new interpretation of its origins. A number of scientific examinations were undertaken owing to a grant from the 7th Framework Programme in 2012-2014 in collaboration with an international group of scientists in the project CHARISMA-MOLAB and ARCHLAB. The project offered an access to most advanced EU scientific instrumentations and knowledge to enhance our research, the goal of studies at ARCHLAB in the C2RMF was to confront documents and draw a comparison of the results of The Last Judgement investigations with data of other works of Rogier van der Weyden and Hans Memling.This provided a number of new results based on MNIR results concerning the several stages of the artistic process. New information confirmed the thesis of the dates 1460 – instead of 1466-1467, as expressed previously – as well as three stages in the composition and underdrawing of the work; with the priming layers probably made by Rogier van der Weyden with his collaborators. It was the norm in 15th century painting workshops, while the completion of the painting and final layers were probably the work of Hans Memling (his earliest and most important achievements in his oeuvre). The results shed light on the original proto-Renaissance pedigree of 15th century Flemish painting with its identity born in the north of Europe. |
| author |
Szmelter, Iwona |
| author_facet |
Szmelter, Iwona |
| author_sort |
Szmelter, Iwona |
| title |
The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling |
| title_short |
The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling |
| title_full |
The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling |
| title_fullStr |
The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling |
| title_full_unstemmed |
The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling |
| title_sort |
impact of new data for identification and authorship: the case of the last judgement, triptych from the national museum in gdańsk, a northern renaissance work, by rogier van der weyden and hans memling |
| publisher |
Technè |
| publishDate |
2019 |
| container_title |
URI:https://journals.openedition.org/techne |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/techne.756 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/techne/756 |
| _version_ |
1877294137999360000 |
| spelling |
openedition-oai:revues.org:techne_756 https://doi.org/10.4000/techne.756 urn:doi:10.4000/techne.756 en https://journals.openedition.org/techne/756 2019-12-19T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/l8fx https://creativecommons.org/licenses/by-nc-nd/4.0/ The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling Technè C2RMF info:eu-repo/semantics/reference/issn/2750-6185 info:eu-repo/semantics/reference/issn/1254-7867 URI:https://journals.openedition.org/techne Szmelter, Iwona X-ray diffraction (XRD) multilayer paintings techniques van der Weyden (Rogier) Memling (Hans) Northern Renaissance visible light photography IR reflectrometry UV fluorescence photography X-ray radiography MNIR ultraviolet-visible (UV-VIS) reflectance and fluorescence spectroscopy Measurement of luminescence decay lifetime with time-correlated single-photon counting (TCSPC) Fourier Transform near- and mid-infrared reflectance spectroscopy X-ray fluorescence (XRF) energy dispersive spectrometry (EDS) Optical Coherent Tomography (OCT) scanning electron microscopy (SEM) superposition de couches van der Weyden (Rogier) Memling (Hans) Renaissance septentrionale photographie en lumière visible réflectrométrie infrarouge photographie en fluorescence d’ultraviolets proche et moyen infrarouge (PIR et MIR) spectroscopie ultraviolet-visible mesure de la durée de vie de luminescence par comptage de photons uniques corrélés en temps (CPUCT) microscopie électronique à balayage (MEB) spectroscopie à dispersion d’énergie (SDE) spectroscopie à transformée de Fourier en proche et moyen infrarouge fluorescence des rayons X (FRX) diffraction des rayons X (DFR) tomographie par cohérence optique (TCO) The triptych The Last Judgement from the National Museum in Gdańsk is one of the most mysterious of the Flemish Renaissance works of the 15th century. Since the late 1960s, based on conservation research, art historians have known that another painting lays underneath the work. Until 2012-2014, however, identification and seeing all hidden image in detail has been impossible. There are no known historical sources making specific reference to the origin of this work. Its authorship has often been questioned. Since Hotho’s hypothesis of 1843, the painting is regularly attributed to Hans Memling. The earliest and only certain date in the history of the triptych is the 27 April 1473, the date when it was seized by pirates at sea during its transportation from the port of Bruges to Badia Fiesolana near Florence. As a Hanseatic spoil of war, the triptych passed to St. Mary’s Basilica in Gdańsk. The artwork was analysed from a number of perspectives, ranging from a humanistic enquiry to its physico-chemical properties. It was found that the triptych was painted with a multilayer tempera-oil technique on oak support. Dendrochronological work by Tomasz Ważny showed that the oak support was prepared for painting at the end of 1460. The results of these tests facilitate a fresh approach to the dating of the work and a new interpretation of its origins. A number of scientific examinations were undertaken owing to a grant from the 7th Framework Programme in 2012-2014 in collaboration with an international group of scientists in the project CHARISMA-MOLAB and ARCHLAB. The project offered an access to most advanced EU scientific instrumentations and knowledge to enhance our research, the goal of studies at ARCHLAB in the C2RMF was to confront documents and draw a comparison of the results of The Last Judgement investigations with data of other works of Rogier van der Weyden and Hans Memling.This provided a number of new results based on MNIR results concerning the several stages of the artistic process. New information confirmed the thesis of the dates 1460 – instead of 1466-1467, as expressed previously – as well as three stages in the composition and underdrawing of the work; with the priming layers probably made by Rogier van der Weyden with his collaborators. It was the norm in 15th century painting workshops, while the completion of the painting and final layers were probably the work of Hans Memling (his earliest and most important achievements in his oeuvre). The results shed light on the original proto-Renaissance pedigree of 15th century Flemish painting with its identity born in the north of Europe. Le triptyque du Jugement dernier conservé au Musée national de Gdansk est l’une des œuvres les plus mystérieuses de la première Renaissance flamande. Vers la fin des années 1960, des examens de laboratoire ont révélé la présence d’une autre peinture sous la surface. Mais il a fallu attendre 2012-2014 pour pouvoir identifier l’image cachée et en distinguer les détails. Aucun document historique connu à ce jour ne fournit d’indication sur l’origine de cette œuvre, dont l’attribution a suscité bien des controverses. L’hypothèse Hans Memling avancée en 1843 par H. G. Hotho resurgit régulièrement. La première et unique date attestée dans l’historique du triptyque est celle du 27 avril 1473, date à laquelle des pirates s’en sont emparés sur le navire qui le transportait de Bruges à Fiesole. Ce butin de guerre hanséatique a été transmis ensuite à la basilique Sainte-Marie de Gdansk. L’œuvre a fait l’objet de toutes sortes d’analyses, depuis l’enquête humaniste jusqu’à la détermination des propriétés physico-chimiques. On a découvert que la surface se composait de plusieurs couches de tempera et peinture à l’huile appliquées sur du chêne. Une étude dendrochronologique conduite par Tomasz Wazny a démontré que la préparation du support en bois remontait à la fin de l’année 1460. Ces données permettent d’envisager la date et l’origine de l’œuvre sur de nouvelles bases. Le septième programme-cadre (7e PC) de l’Union européenne a financé en 2012-2014 une série d’examens scientifiques effectués en collaboration avec un groupe international de chercheurs travaillant dans le cadre du programme européen CHARISMA MOLAB et ARCHLAB. Grâce à cet accès aux instruments scientifiques et aux savoirs les plus en pointe au niveau européen, les recherches menées au sein d’ARCHLAB au C2RMF visaient à confronter les résultats des différents examens du Jugement dernier avec les documents existants et avec nos informations sur d’autres œuvres de Rogier van der Weyden et de Hans Memling.Les résultats obtenus dans le proche et moyen infrarouge (PIR et MIR) concernant les diverses strates du triptyque ont confirmé la thèse des dates 1460-1467 au lieu de 1466-1467, et l’exécution en trois étapes, Rogier van der Weyden ayant sans doute appliqué les couches d’impression avec ses collaborateurs. C’était la norme dans les ateliers du xve siècle. Hans Memling a probablement achevé la composition et appliqué les couches finales (son apport le plus ancien et le plus important à l’histoire de la peinture). Ces résultats éclairent les origines proto-renaissantes de la peinture flamande du xve siècle, née dans le nord de l’Europe. |