The glorious triptych of Gda?sk, the ,,Last Judgement" ascribed to Hans Memling, had a very intricate history during the last five years of its creation, starting from 1473 when it was captured by pirates as a war-trophy. What's more, the latest, fascinating findings proved this artpiece to be even more intriguing. Researchers reconstructed artist painting practice and identified materials by an integrated muti-technique analytical approach. The secret of the masterpiece lies in the multiple versions of the underdrawing by more than one artist. This dissertation evaluates the results from different methods in the overall context and explaining the significant changes of the draw and under-drawing (design) of the central panel and of hundreds of smaller details anywhere in the triptych. The heuristic findings bring the reader to the knowledge of the technique and of the fascinating creative process of the painting. The aesthetically wonderful triptych as a material object is an important source of evidence about itself. On the base of technical evidences, probably it was designed by Rogier van der Weyden after 1460, and then continued by Hans Memling in Bruges. This genial artwork stands at the point of transition between Gothic art, proto Northern Renaissance and Italian Renaissance.

Multi-criterial Studies of the Masterpiece The Last Judgement, Attributed to Hans Memling, at the National Museum of Gdansk (2010-2013)

LAURA CARTECHINI;LUCA PEZZATI
2014

Abstract

The glorious triptych of Gda?sk, the ,,Last Judgement" ascribed to Hans Memling, had a very intricate history during the last five years of its creation, starting from 1473 when it was captured by pirates as a war-trophy. What's more, the latest, fascinating findings proved this artpiece to be even more intriguing. Researchers reconstructed artist painting practice and identified materials by an integrated muti-technique analytical approach. The secret of the masterpiece lies in the multiple versions of the underdrawing by more than one artist. This dissertation evaluates the results from different methods in the overall context and explaining the significant changes of the draw and under-drawing (design) of the central panel and of hundreds of smaller details anywhere in the triptych. The heuristic findings bring the reader to the knowledge of the technique and of the fascinating creative process of the painting. The aesthetically wonderful triptych as a material object is an important source of evidence about itself. On the base of technical evidences, probably it was designed by Rogier van der Weyden after 1460, and then continued by Hans Memling in Bruges. This genial artwork stands at the point of transition between Gothic art, proto Northern Renaissance and Italian Renaissance.
2014
Istituto di Scienze e Tecnologie Molecolari - ISTM - Sede Milano
978-1-84973-818-7
File in questo prodotto:
File Dimensione Formato  
prod_289125-doc_92944.pdf

solo utenti autorizzati

Descrizione: Capitolo in libro
Dimensione 782.79 kB
Formato Adobe PDF
782.79 kB Adobe PDF   Visualizza/Apri   Richiedi una copia

I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.

Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/20.500.14243/258378
Citazioni
  • ???jsp.display-item.citation.pmc??? ND
  • Scopus ND
  • ???jsp.display-item.citation.isi??? ND
social impact