Painting Technique of Portraits painted in the 19th century by Friedrich von Amerling

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F60461446%3A52810%2F10%3A%230000076" target="_blank" >RIV/60461446:52810/10:#0000076 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Painting Technique of Portraits painted in the 19th century by Friedrich von Amerling

Popis výsledku v původním jazyce

In 2007 to 2009 we examined 32 paintings by F. von Amerling using a non-invasive X-ray fluorescence method. The collection of samples was limited as paintings were not in the process of restoration; thus we only collected samples from bent edges of canvas. We found out that he used mainly two types of grounds ? oil white and also a two-layer oilground consisting of a bottom clay-based (earthy) layer and a top light layer. F. von Amerling did not change his favorite palette of pigments in that period. Heused zinc white only later - in the eighteen fifties. Further, we compared three portraits of the Hilleprand von Prandau painted by Amerling, specifically two portraits of Marianne Norman - Ehrenfels (Levoča, Slovakia, Osijek, Croatia), and a portrait of Marianne´s sister, Alvine, (Osijek, Croatia). The comparison of the paintings suggests that the portrait of Marianne from Levoča (so far without a definite datation) was painted earlier than the portrait of the same person from Osijek (

Název v anglickém jazyce

Painting Technique of Portraits painted in the 19th century by Friedrich von Amerling

Popis výsledku anglicky

In 2007 to 2009 we examined 32 paintings by F. von Amerling using a non-invasive X-ray fluorescence method. The collection of samples was limited as paintings were not in the process of restoration; thus we only collected samples from bent edges of canvas. We found out that he used mainly two types of grounds ? oil white and also a two-layer oilground consisting of a bottom clay-based (earthy) layer and a top light layer. F. von Amerling did not change his favorite palette of pigments in that period. Heused zinc white only later - in the eighteen fifties. Further, we compared three portraits of the Hilleprand von Prandau painted by Amerling, specifically two portraits of Marianne Norman - Ehrenfels (Levoča, Slovakia, Osijek, Croatia), and a portrait of Marianne´s sister, Alvine, (Osijek, Croatia). The comparison of the paintings suggests that the portrait of Marianne from Levoča (so far without a definite datation) was painted earlier than the portrait of the same person from Osijek (

Druh

D - Stať ve sborníku

CEP obor

AL - Umění, architektura, kulturní dědictví

OECD FORD obor

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Projekt

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Návaznosti

Z - Vyzkumny zamer (s odkazem do CEZ)<br>I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2010

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název statě ve sborníku

ACTA ARTIS ACADEMICA 2010: THE STORY OF ART - ARTWORK CHANGES IN TIME

ISBN

978-80-87108-14-7

ISSN

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e-ISSN

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Počet stran výsledku

10

Strana od-do

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Název nakladatele

Akademie výtvarných umění, Praha

Místo vydání

Prague, Czech Republic

Místo konání akce

Prague

Datum konání akce

24. 11. 2010

Typ akce podle státní příslušnosti

EUR - Evropská akce

Kód UT WoS článku

000288141200008