In his present article the author deals with problems
relating to the creative workshop of an artist acting
at the court of the Polish King Sigismund III and also
with influences of the contemporary West European
painters’ circles that could determine the artistic personality
of that painter. The possibility to actively
participate in conservation works that were aimed at
safeguarding in 1955 of the main altar of Pelplin
Cathedral containing the works of Herman Han enabled
the author to become thoroughly familiar with
Han’s workshop techniques. As a result of the continued
works at numerous paintings by the same artist
(his work, among the others, is that titled „Coronation”)
it has become possible for the author to extend
his studies on structure of works by that artist.
The author discusses in detail the kinds of supports
that are typical for Han’s paintings, the structure of
wood used for panels, its age, manners of its treatment
as well as of its preparation including the selection
of suitable materials, joining of the separate
elements, their thickness, sizes and s.o.
The painter’s grounds laid on supports, the ways used
to achieve a genuine artistic effect that resulted from
techniques developed by Han himself and also from
a palette in the common use in times of the early
Baroque are dealt with by the author on a background
of the artist’s works whom he studied at the time of
several preservations. A good deal of the author’s considerations
is devoted to overpaintings (pentimenta)
made by the artist himself as well as to precursory
solutions applied in composition that were dictated by
both fashion prevailing in the period and the artist’s
creative invention and to negative consequences of
the erroneous technological concepts and conditions
under which the works were kept that altogether had
a deciding effect on the state of their preservation.
As an entirely separate problem is to be considered
that of anonymity of master as the paintings are devoid
of signatures; the only exception being the Latin
text written with Herman Han’s hand on the reverse
of „Adoration by Angels” ornating the predella of the
main altar in the parish church, Czersk.
Summarizing his considerations the author emphasizes
that in view of the fact that there exist the considerable
numbers of works by that painter which have
not yet been investigated or thosç that may still be
found in other places both artistic and technological
problems arising from quite extraordinary artistic
personality of Herman Han must be handled as those
still open for discussion.
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