Prethodno priopćenje
https://doi.org/10.17018/portal.2021.8
Alberto Marliani in the heart of Bednja
Jelena Pasarić
orcid.org/0000-0002-9363-7857
; Hrvatski restauratorski zavod, Odjel za štafelajno slikarstvo
Marina Đurović
; Hrvatski restauratorski zavod, Odjel za štafelajno slikarstvo
Sažetak
Conservation of the painting Unidentified Man (perhaps Emperor Maximilian I) from the large collection of portraits at the Trakošćan Castle and Museum has been carried out at the Croatian Conservation Institute, because the painted layer was flaking. The oil-on-canvas painting (119 x 87.5 cm) is the work of an unidentified artist. On the basis of the Latin inscription Maximilianus / Etatis XVII anno 1476 (Maximilian / at the age of 17 in 1476) in the upper part of the painting, museum documentation dates it to the 15th century. Conservation and natural-science research identified three subsequent interventions. As part of the non-invasive research, ultraviolet fluorescence, infrared reflectography, X-ray and X-ray reflectography imaging were carried out at 11 different locations on the painting. Invasive research was kept to a minimum. Solubility tests on the layer of surface dirt, varnish and overpainting, and microscopic analysis of the cloth thread were performed, and only one sample was taken for microsection to perform stratigraphic analysis and energy-dispersive spectroscopy. The minimum required amount of canvas was taken for the C-14 dating.
The identification of painted layers led to the realization that the original portrait of Alberto Marliani, member of an extremely important and powerful Milanese noble family, was turned into a portrait of Galeazzo II by Maria Sforza during the first intervention. On that occasion, the head and pedestal of the pillar with the Latin inscription ALBERTUS / MARLÍANUS / ÆQS (Alberto Marliani nobleman) were painted over. The three-quarter view of Alberto Marliani was transformed into Gian Galeazzo’s almost full profile, and a new Latin inscription GALEATIVS / MARIA / GALEATII / MAR ET / BONAEFIL. / MEDDVX. (Galeazzo Maria (son of) Galeazzo Maria and Bono Filiberti / Duke of Milan) was added to the pillar pedestal. Interestingly, during the next intervention, this partially altered portrait was actually used as underpainting for the portrait of Emperor Maximilian I. The painting was completely covered with a new painted layer; but, apart from the altered face and the addition of a chain with a cross around the neck, the hilt of a sword at the waist and a scroll in the hand, all the elements were simply repeated in the new layer.
Due to the presence of barium white (lithopone) and chrome yellow or green in the painted layer, it was concluded that the last intervention occurred in the 19th century. At the time, it was also lengthened by 16 cm through the addition of new canvas in the upper part of the painting. Dark green drapery was painted on the added canvas and part of the older painted layer. During conservation, all subsequent interventions were removed from the painting. Further historical, archival, historical and art research has contributed to a better understanding of the stylistic features of the work within the specific local and historical context.
Ključne riječi
Trakošćan; Leonardeschi; Mannerism; Sforza; Marliani; stratification; Emperor Maximilian I
Hrčak ID:
270796
URI
Datum izdavanja:
27.12.2021.
Posjeta: 610 *