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    Wyświetlanie 1-3 z 3
    Tytuł:
    Pomiary krzywizny powierzchni malowidła skanerem optycznym Atos na przykładzie kopii obrazu Petera Paula Rubensa Znalezienie Erichtoniosa ze zbiorów Muzeum Narodowego w Warszawie
    The measurement of the curvature of the wooden support with a cradle by means of the optical scanner Atos on the example of the copy of Finding Erichtonios by Peter Paul Rubens
    Autorzy:
    Trochimowicz, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/537475.pdf
    Data publikacji:
    2013
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    podobrazie drewniane
    parkietaż
    zmiany wymiarowe drewna
    bezstykowe metody pomiaru
    skaner optyczny Atos
    Opis:
    Ever since artists have started using wooden panels as support of their paintings it`s instability has been causing problems. Throughout centuries artists and woodworkers have been aiming to counteract the movement of the support, and as a result the cradle – a rigid wooden structure attached to the panel back was invented. For more than two centuries cradling seemed to be the perfect solution and was a customary method employed all over Europe. Today the disastrous effect of the excessive restraint the cradle exerts on the panel is apparent. It results in splitting of the panels, peeling off the paint layer and paint loss. Presented in the article are the results of measurements of surface of cradled painted panel examined by Atos – the optical scanner. The measurement was performed of the existing cradle related distortion of the surface. It demonstrated that is possible to monitor the state of deterioration of artifacts by using the optical scanner. Translated by Aleksandra Trochimowicz
    Źródło:
    Ochrona Zabytków; 2013, 1-4; 121-126
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Changing Perception of the Five Senses
    Autorzy:
    Benninga, Sara
    Powiązania:
    https://bibliotekanauki.pl/articles/1788549.pdf
    Data publikacji:
    2020-09-13
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    Jan Brueghel the Elder
    Peter Paul Rubens
    Flanders
    17th century
    five senses
    courtly company
    collector’s cabinet
    archdukes
    early-modern
    Opis:
    This article examines the changing approach towards the representation of the senses in 17th-century Flemish painting. These changes are related to the cultural politics and courtly culture of the Spanish sovereigns of the Southern Netherlands, the Archdukes Albert and Isabella. The 1617–18 painting-series of the Five Senses by Jan Brueghel the Elder and Peter Paul Rubens as well as the pendant paintings on the subject are analyzed in relation to the iconography of the five senses, and in regard to Flemish genre themes. In this context, the excess of objects, paintings, scientific instruments, animals, and plants in the Five Senses are read as an expansion of the iconography of the senses as well as a reference to the courtly material culture of the Archdukes. Framing the senses as part of a cultural web of artifacts, Brueghel and Rubens refer both to elite lived experience and traditional iconography. The article examines the continuity between the iconography of the senses from 1600 onwards, as developed by Georg Pencz, Frans Floris, and Maerten de Vos, and the representation of the senses in the series. In addition, the article shows how certain elements in the paintings are influenced by genre paintings of the courtly company and collector’s cabinet, by Frans Francken, Lucas van Valckenborch and Louis de Caullery. Through the synthesis of these two traditions the subject of the five senses is reinvented in a courtly context.
    Źródło:
    Ikonotheka; 2019, 29; 103-122
    0860-5769
    Pojawia się w:
    Ikonotheka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Znaczenie antwerpskiej kompozycji Rubensa dla przedstawień Ofiarowania Jezusa na terenach Rzeczypospolitej
    The significance in Poland of Rubens’ composition in Antwerp Cathedral depicting the Presentation of Jesus in the Temple
    Autorzy:
    Ponińska, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/1395200.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
    Tematy:
    the Presentation of Jesus in the Temple,
    Peter Paul Rubens,
    Antwerp, Paul
    Pontius,
    art in the 17th and 18th centuries
    Opis:
    The scene depicting the Presentation of Jesus in the Temple was a rather popular image in Polish art in the 17th and 18th centuries due to the event being included among the Joyful Mysteries of the Rosary. It also appears as a stand alone scene, as well as in series illustrating events from the life of Jesus and the Virgin Mary. These representations could take the form of polychrome murals in churches, paintings ornamenting the choir, as well as other series of works of art. Artists often based their work on ready-made models. In the case of the scene depicting the Presentation of Jesus in the Temple, the most popular composition used as a model by Polish artists was undoubtedly the one executed in the first quarter of the 17th century by Peter Paul Rubens. He painted the scene on the side wing of a triptych housed in Antwerp Cathedral, although his drawing was also used to make a graphic version, the composition of which was expanded to include additional figures. The most convenient way of copying these models was by basing on prints which were published in large quantities, although the artists who made use of them often reduced the composition or made other changes which prevented a clear identification of a concrete model. In Poland, Rubens’ composition was used to ornament walls with polychrome paintings (Jarosław and Rzeszów), the backs of choirs (Koźliny, and to some extent Żarnowiec), paintings on canvas (KamieńKrajeński, Baranów, and Kazimierz Dolny), as well as in series of scenes associated with the Rosary (Kobylin), or for one of the scenes decorating the Feasts tier of an Iconostasis (Owczary). The Flemish master’s composition was popular in Polish art both in the 17th and 18th centuries.
    Źródło:
    Saeculum Christianum. Pismo Historyczne; 2014, 21; 154-168
    1232-1575
    Pojawia się w:
    Saeculum Christianum. Pismo Historyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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