Tempera techniques used by Czech landscape painters at the end of the 19th century

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F60461446%3A52810%2F18%3AN0000035" target="_blank" >RIV/60461446:52810/18:N0000035 - isvavai.cz</a>

Výsledek na webu

<a href="http://www.doernerinstitut.de/tempera_2018/downloads/Tempera_Painting_1800_1950_128dpi.pdf" target="_blank" >http://www.doernerinstitut.de/tempera_2018/downloads/Tempera_Painting_1800_1950_128dpi.pdf</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Tempera techniques used by Czech landscape painters at the end of the 19th century

Popis výsledku v původním jazyce

The present study is part of a three-year comprehensive project aiming above all to find out whether the differences in paint compositions—namely binding media and pigments, as well as the number of paint layers and the system of layering—could help explain why degradative processes are less pronounced in tempera techniques. Historical sources show that, at the end of 19th century, Bohemian painters experimented with painting techniques and technologies. Of special interest to the present project is the relatively unknown syntonos tempera technique, used by the students of Mařák´s plein-air landscape painting studio at the Academy of Fine Arts in Prague. For the purposes of our research, we selected works by the most important painters from the above-mentioned school, including Antonín Slavíček, Otakar Lebeda and Antonín Hudeček, who all frequently used this tempera technique. In cooperation with the National Gallery in Prague and private collectors, we have chosen a broad selection of paintings for both chemical analysis of paint media and conservation research.

Název v anglickém jazyce

Tempera techniques used by Czech landscape painters at the end of the 19th century

Popis výsledku anglicky

The present study is part of a three-year comprehensive project aiming above all to find out whether the differences in paint compositions—namely binding media and pigments, as well as the number of paint layers and the system of layering—could help explain why degradative processes are less pronounced in tempera techniques. Historical sources show that, at the end of 19th century, Bohemian painters experimented with painting techniques and technologies. Of special interest to the present project is the relatively unknown syntonos tempera technique, used by the students of Mařák´s plein-air landscape painting studio at the Academy of Fine Arts in Prague. For the purposes of our research, we selected works by the most important painters from the above-mentioned school, including Antonín Slavíček, Otakar Lebeda and Antonín Hudeček, who all frequently used this tempera technique. In cooperation with the National Gallery in Prague and private collectors, we have chosen a broad selection of paintings for both chemical analysis of paint media and conservation research.

Druh

O - Ostatní výsledky

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2018

Kód důvěrnosti údajů

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