Henryk Siemiradzki is well known to a wide audience mainly for his biblical and genre scenes from the ancient Rome depicted against Italian sunny landscapes, as well as for his leading masterpiece, Nero’s ... więcej

Henryk Siemiradzki is well known to a wide audience mainly for his biblical and genre scenes from the ancient Rome depicted against Italian sunny landscapes, as well as for his leading masterpiece, Nero’s Torches. The romantic and nocturne sceneries are present in his pictures quite rarely. These kind of paintings gained less popularity among buyers as they were not so easy and nice in perception. The picture Ruins of a Roman Villa belongs to this group. From the very beginning, this painting was important for the artist and his work. The precise examination of the picture based on the use of modern analytical spectroscopic techniques, analytical photography, visual analysis and the investigation in the archives shed new light on the creation process and allowed us to complete the quest for the comprehensive knowledge of the painting’s technology and technique. Thanks to the analytical photography in the X-ray and infrared radiation, some significant changes of the author’s concept have been discovered. The content and the character of the initial painting’s layer turned out to be analogous to some other Siemiradzki’s works, which allowed us to determine with more certainty the time of the creation of this unsigned and undated painting. The palette used by the painter in this work has been identified. We have also determined the method of binding paints in the picture. The performed analysis of the painting’s technique and of the method of preparing the support and the remaining evidence of the picture’s history contribute to the data base which supports authentication of other, (sometimes uncertain) works attributed to Siemiradzki.

Henryk Siemiradzki, marmur, rysunek ołówkiem, szkic, pejzaż, obraz olejny, obiekt, most, akwedukt, filar, malarstwo ścienne, technika malarstwa, technika olejna, płótno lniane, spoiwo emulsyjne, ... więcej

Henryk Siemiradzki, marmur, rysunek ołówkiem, szkic, pejzaż, obraz olejny, obiekt, most, akwedukt, filar, malarstwo ścienne, technika malarstwa, technika olejna, płótno lniane, spoiwo emulsyjne, laserunek, łączenie farb, pigmenty, szpachla, pędzle, badania technologiczne, analiza wizualna, fotografia, promieniowanie, spektroskopia, Muzeum Narodowe w Krakowie, Leon Siemiradzki, Galeria Sztuki Polskiej XIX wieku w Sukiennicach, badania, technologia, zmiany kompozycji, warsztat malarski, datowanie, warstwy malarskie, Kraków