The Ghent Altarpiece: research and conservation of the exterior
The outer panels of the Ghent Altarpiece had been overpainted to a considerable extent. The virtuosity of the Eyckian technique and aesthetics remained hardly visible. And yet, this had never been observed before the start of the conservation treatment. By removing the overpaint, the tonal richness...
Gespeichert in:
| Weitere Verfasser: | , , |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Brussels
Royal Institute for Cultural Heritage
2020
|
| Schriftenreihe: | Contributions to the study of the Flemish Primitives
14 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | The outer panels of the Ghent Altarpiece had been overpainted to a considerable extent. The virtuosity of the Eyckian technique and aesthetics remained hardly visible. And yet, this had never been observed before the start of the conservation treatment. By removing the overpaint, the tonal richness and the coherent rendering of light and space once again came to the fore. Especially the suggestion of volumes and the spaciousness of the ensemble gained strength because of the virtuoso play of deep shadows and bright light accents, and not in the least because of the surprising trompe-l'oeil effect of the frames conceived as a stone framework. Or to put it in the words of the comments of one of the experts, dr. Maryan Ainsworth: "The paintings live and breathe again in the time of the Van Eyck brothers". The sharp observation skills, the quick, accurate execution, the knowledge, curiosity and ingenuity about all the things that are depicted, are now unveiled after centuries. The profit for the knowledge of and further research into the essence of Eyckian aesthetics is considerable. And finally there is the discovery that the much-discussed quatrain was applied simultaneously with the polychromy of the frames: a real 'coup de foudre' in the discourse of the current art-historical research! The subtleties of the Eyckian technique could also be mapped out in more detail. How the Van Eycks managed to keep the final result and the desired effect in mind during every phase of the execution, from imprimatura to finishing touch. The artists made a statement about the art of painting, giving 'technique' as such a new prominence. The Ghent Altarpiece may be understood at some point as a major showpiece for a highly sophisticated pictorial technique. |
| Beschreibung: | X, 430 Seiten Illustrationen, Diagramme |
| ISBN: | 9782930054384 |
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| 490 | 1 | |a Contributions to the study of the Flemish Primitives |v 14 | |
| 520 | 3 | |a The outer panels of the Ghent Altarpiece had been overpainted to a considerable extent. The virtuosity of the Eyckian technique and aesthetics remained hardly visible. And yet, this had never been observed before the start of the conservation treatment. By removing the overpaint, the tonal richness and the coherent rendering of light and space once again came to the fore. Especially the suggestion of volumes and the spaciousness of the ensemble gained strength because of the virtuoso play of deep shadows and bright light accents, and not in the least because of the surprising trompe-l'oeil effect of the frames conceived as a stone framework. Or to put it in the words of the comments of one of the experts, dr. Maryan Ainsworth: "The paintings live and breathe again in the time of the Van Eyck brothers". The sharp observation skills, the quick, accurate execution, the knowledge, curiosity and ingenuity about all the things that are depicted, are now unveiled after centuries. The profit for the knowledge of and further research into the essence of Eyckian aesthetics is considerable. And finally there is the discovery that the much-discussed quatrain was applied simultaneously with the polychromy of the frames: a real 'coup de foudre' in the discourse of the current art-historical research! The subtleties of the Eyckian technique could also be mapped out in more detail. How the Van Eycks managed to keep the final result and the desired effect in mind during every phase of the execution, from imprimatura to finishing touch. The artists made a statement about the art of painting, giving 'technique' as such a new prominence. The Ghent Altarpiece may be understood at some point as a major showpiece for a highly sophisticated pictorial technique. | |
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Datensatz im Suchindex
| _version_ | 1804181389877182464 |
|---|---|
| adam_text | CONTENTS
FOREWORD
LUDO COLLIN
PREFACE
HILDE DE CLERCG,
CHRISTINA
CEULEMANS
INTRODUCTION
MAXIMILIAAN
MARTENS, CHRISTINA
CEULEMANS, RON
SPRONK,
ANNE
VAN GREVENSTEIN-KRUSE
1.
2.
TRANSFORMATIONS
IN
THE
SIXTEENTH
AND
SEVENTEENTH CENTURIES
HELENE
DUBOIS
FRAMES
AND
SUPPORT:
TECHNIQUE AND
STRUCTURAL
TREATMENT
JOCHEN KETELS,
JEAN-ALBERT
GLATIGNY, ANNE-SOPHIE
AUGUSTYNIAK
3.
PAINT AND
POLYCHROMY:
CHEMICAL
INVESTIGATION OF
THE
OVERPAINTS
JANA
SANYOVA,
GEERT
VAN DER
SNICKT, HELENE DUBOIS, ALEXIA COUDRAY,
KOEN
JANSSENS, PETER
VANDENABEELE
4.
CONSERVATION
AND
RESTORATION TREATMENT
A.
THE
PAINTED
SURFACE
LIVIA
DEPUYDT-ELBAUM,
FRANC;OISE ROSIER,
BART
DEVOLDER, NATHALIE
LAGUIERE
B.
THE
FRAMES:
IN
SEARCH
OF
LOST
UNITY
ANNE-SOPHIE
AUGUSTYNIAK,
LAURE MORTIAUX
5.
THE
VAN
EYCKS
CREATIVE
PROCESS
6.
A.
THE
PAINTINGS:
FROM
(UNDER)DRAWING
TO
THE
FINAL
TOUCH
IN PAINT
MARIE POSTEC,
GRIET
STEYAERT
B.
THE
FRAMES:
AN
EXCEPTIONAL
POLYCHROMY
ANNE-SOPHIE
AUGUSTYNIAK,
LAURE MORTIAUX,
JANA
SANYOVA
THE
AUTHENTICITY
OF
THE QUATRAIN
AND THE
OTHER
FRAME
INSCRIPTIONS
SUSAN FRANCES
JONES, ANNE-SOPHIE AUGUSTYNIAK, HELENE
DUBOIS
7.
IMAGINING
THE
ORIGINAL
DISPLAY
BART
FRANSEN,
JEAN-ALBERT
GLATIGNY
VII
IX
1
11
47
77
111
195
249
273
V
CO);TE: TS
8.
RESTORING
IN
THE
PUBLIC
EYE
BART DEVOLDER
9.
EPILOGUE:
IMPLICATIONS
AND
PERSPECTIVES
EYRIEL STROO, MAXIMILIAAN
MARTENS
RO.
DOCUMENTATION
A.
PHOTOGRAPHY
BEFORE
AND
AFTER
TREATMENT
STEPHANE BAZZO,
JEAN-LUC ELIAS, KATRIEN
VAN ACKER
B.
INSCRIPTIONS
ON
THE
EXTERIOR
SUSAN FRANCES JONES, MARC H. SMITH
C.
THE
QUATRAIN:
A
NEW
RECONSTRUCTION
MARC H. SMITH, SUSAN FRANCES
JONES, ANNE-SOPHIE
AUGUSTYNIAK
D.
DIMENSIONS
OF
FRAMES
AND
SUPPORTS
JOCHEN KETELS,
JEAN-ALBERT GLATIGNY, ANNE-SOPHIE
AUGUSTYNIAK
E.
THE
GHENT
ALTARPIECE:
A
BIBLIOGRAPHY
DOMINIQUE DENEFFE,
JEROEN
REYNIERS
BIBLIOGRAPHY
PROJECT
PARTICIPANTS
PHOTOGRAPHIC
ACKNOWLEDGEMENTS
ABBREVIATIONS
INDEX
OF
NAMES
INDEX
OF
WORKS
OF
ART
VI
337
357
377
421
|
| adam_txt |
CONTENTS
FOREWORD
LUDO COLLIN
PREFACE
HILDE DE CLERCG,
CHRISTINA
CEULEMANS
INTRODUCTION
MAXIMILIAAN
MARTENS, CHRISTINA
CEULEMANS, RON
SPRONK,
ANNE
VAN GREVENSTEIN-KRUSE
1.
2.
TRANSFORMATIONS
IN
THE
SIXTEENTH
AND
SEVENTEENTH CENTURIES
HELENE
DUBOIS
FRAMES
AND
SUPPORT:
TECHNIQUE AND
STRUCTURAL
TREATMENT
JOCHEN KETELS,
JEAN-ALBERT
GLATIGNY, ANNE-SOPHIE
AUGUSTYNIAK
3.
PAINT AND
POLYCHROMY:
CHEMICAL
INVESTIGATION OF
THE
OVERPAINTS
JANA
SANYOVA,
GEERT
VAN DER
SNICKT, HELENE DUBOIS, ALEXIA COUDRAY,
KOEN
JANSSENS, PETER
VANDENABEELE
4.
CONSERVATION
AND
RESTORATION TREATMENT
A.
THE
PAINTED
SURFACE
LIVIA
DEPUYDT-ELBAUM,
FRANC;OISE ROSIER,
BART
DEVOLDER, NATHALIE
LAGUIERE
B.
THE
FRAMES:
IN
SEARCH
OF
LOST
UNITY
ANNE-SOPHIE
AUGUSTYNIAK,
LAURE MORTIAUX
5.
THE
VAN
EYCKS'
CREATIVE
PROCESS
6.
A.
THE
PAINTINGS:
FROM
(UNDER)DRAWING
TO
THE
FINAL
TOUCH
IN PAINT
MARIE POSTEC,
GRIET
STEYAERT
B.
THE
FRAMES:
AN
EXCEPTIONAL
POLYCHROMY
ANNE-SOPHIE
AUGUSTYNIAK,
LAURE MORTIAUX,
JANA
SANYOVA
THE
AUTHENTICITY
OF
THE QUATRAIN
AND THE
OTHER
FRAME
INSCRIPTIONS
SUSAN FRANCES
JONES, ANNE-SOPHIE AUGUSTYNIAK, HELENE
DUBOIS
7.
IMAGINING
THE
ORIGINAL
DISPLAY
BART
FRANSEN,
JEAN-ALBERT
GLATIGNY
VII
IX
1
11
47
77
111
195
249
273
V
CO);TE:\TS
8.
RESTORING
IN
THE
PUBLIC
EYE
BART DEVOLDER
9.
EPILOGUE:
IMPLICATIONS
AND
PERSPECTIVES
EYRIEL STROO, MAXIMILIAAN
MARTENS
RO.
DOCUMENTATION
A.
PHOTOGRAPHY
BEFORE
AND
AFTER
TREATMENT
STEPHANE BAZZO,
JEAN-LUC ELIAS, KATRIEN
VAN ACKER
B.
INSCRIPTIONS
ON
THE
EXTERIOR
SUSAN FRANCES JONES, MARC H. SMITH
C.
THE
QUATRAIN:
A
NEW
RECONSTRUCTION
MARC H. SMITH, SUSAN FRANCES
JONES, ANNE-SOPHIE
AUGUSTYNIAK
D.
DIMENSIONS
OF
FRAMES
AND
SUPPORTS
JOCHEN KETELS,
JEAN-ALBERT GLATIGNY, ANNE-SOPHIE
AUGUSTYNIAK
E.
THE
GHENT
ALTARPIECE:
A
BIBLIOGRAPHY
DOMINIQUE DENEFFE,
JEROEN
REYNIERS
BIBLIOGRAPHY
PROJECT
PARTICIPANTS
PHOTOGRAPHIC
ACKNOWLEDGEMENTS
ABBREVIATIONS
INDEX
OF
NAMES
INDEX
OF
WORKS
OF
ART
VI
337
357
377
421 |
| any_adam_object | 1 |
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| building | Verbundindex |
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| id | DE-604.BV046672689 |
| illustrated | Illustrated |
| index_date | 2024-07-03T14:21:49Z |
| indexdate | 2024-07-10T08:50:53Z |
| institution | BVB |
| isbn | 9782930054384 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032083655 |
| oclc_num | 1164626789 |
| open_access_boolean | |
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| physical | X, 430 Seiten Illustrationen, Diagramme |
| publishDate | 2020 |
| publishDateSearch | 2020 |
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| publisher | Royal Institute for Cultural Heritage |
| record_format | marc |
| series | Contributions to the study of the Flemish Primitives |
| series2 | Contributions to the study of the Flemish Primitives |
| spelling | The Ghent Altarpiece research and conservation of the exterior contributions by Anne-Sophie Augustyniak [und 27 weitere] ; directed by Bart Fransen and Cyriel Stroo The Ghent Altarpiece Research and conservation of the exterior Brussels Royal Institute for Cultural Heritage 2020 X, 430 Seiten Illustrationen, Diagramme txt rdacontent sti rdacontent n rdamedia nc rdacarrier Contributions to the study of the Flemish Primitives 14 The outer panels of the Ghent Altarpiece had been overpainted to a considerable extent. The virtuosity of the Eyckian technique and aesthetics remained hardly visible. And yet, this had never been observed before the start of the conservation treatment. By removing the overpaint, the tonal richness and the coherent rendering of light and space once again came to the fore. Especially the suggestion of volumes and the spaciousness of the ensemble gained strength because of the virtuoso play of deep shadows and bright light accents, and not in the least because of the surprising trompe-l'oeil effect of the frames conceived as a stone framework. Or to put it in the words of the comments of one of the experts, dr. Maryan Ainsworth: "The paintings live and breathe again in the time of the Van Eyck brothers". The sharp observation skills, the quick, accurate execution, the knowledge, curiosity and ingenuity about all the things that are depicted, are now unveiled after centuries. The profit for the knowledge of and further research into the essence of Eyckian aesthetics is considerable. And finally there is the discovery that the much-discussed quatrain was applied simultaneously with the polychromy of the frames: a real 'coup de foudre' in the discourse of the current art-historical research! The subtleties of the Eyckian technique could also be mapped out in more detail. How the Van Eycks managed to keep the final result and the desired effect in mind during every phase of the execution, from imprimatura to finishing touch. The artists made a statement about the art of painting, giving 'technique' as such a new prominence. The Ghent Altarpiece may be understood at some point as a major showpiece for a highly sophisticated pictorial technique. Eyck, Jan van 1390-1441 Genter Altar (DE-588)4065420-5 gnd rswk-swf Gemälderestaurierung (DE-588)4123269-0 gnd rswk-swf Eyck, Jan van / 1390-1440 / Ghent altarpiece / Conservation and restoration Eyck, Jan van / 1390-1440 / Ghent altarpiece / Criticism and interpretation Art / Conservation and restoration / Belgium / Ghent Eyck, Jan van 1390-1441 Genter Altar (DE-588)4065420-5 u Gemälderestaurierung (DE-588)4123269-0 s DE-604 Fransen, Bart 1973- (DE-588)16110567X edt Stroo, Cyriel 19XX- (DE-588)188470719 edt Augustyniak, Anne-Sophie (DE-588)1208241885 ctb Contributions to the study of the Flemish Primitives 14 (DE-604)BV004844719 14 V:DE-604 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032083655&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | The Ghent Altarpiece research and conservation of the exterior Contributions to the study of the Flemish Primitives Eyck, Jan van 1390-1441 Genter Altar (DE-588)4065420-5 gnd Gemälderestaurierung (DE-588)4123269-0 gnd |
| subject_GND | (DE-588)4065420-5 (DE-588)4123269-0 |
| title | The Ghent Altarpiece research and conservation of the exterior |
| title_alt | The Ghent Altarpiece Research and conservation of the exterior |
| title_auth | The Ghent Altarpiece research and conservation of the exterior |
| title_exact_search | The Ghent Altarpiece research and conservation of the exterior |
| title_exact_search_txtP | The Ghent Altarpiece research and conservation of the exterior |
| title_full | The Ghent Altarpiece research and conservation of the exterior contributions by Anne-Sophie Augustyniak [und 27 weitere] ; directed by Bart Fransen and Cyriel Stroo |
| title_fullStr | The Ghent Altarpiece research and conservation of the exterior contributions by Anne-Sophie Augustyniak [und 27 weitere] ; directed by Bart Fransen and Cyriel Stroo |
| title_full_unstemmed | The Ghent Altarpiece research and conservation of the exterior contributions by Anne-Sophie Augustyniak [und 27 weitere] ; directed by Bart Fransen and Cyriel Stroo |
| title_short | The Ghent Altarpiece |
| title_sort | the ghent altarpiece research and conservation of the exterior |
| title_sub | research and conservation of the exterior |
| topic | Eyck, Jan van 1390-1441 Genter Altar (DE-588)4065420-5 gnd Gemälderestaurierung (DE-588)4123269-0 gnd |
| topic_facet | Eyck, Jan van 1390-1441 Genter Altar Gemälderestaurierung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032083655&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV004844719 |
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