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Adriaen van der Werff and Pieter van der Werff

The Judgement of Paris (Hyginus 92; Lucianus, Deorum dialogi, 20)>, 1716 gedateerd
Dulwich (London), Dulwich Picture Gallery, [..]
<a class="recordlink artists" href="/explore/artists/83661" title="Adriaen van der Werff"><span class="text">Adriaen van der Werff</span></a> and <a class="recordlink artists" href="/explore/artists/83665" title="Pieter van der Werff"><span class="text">Pieter van der Werff</span></a> <a class="recordlink artists" href="/explore/artists/83661" title="Adriaen van der Werff"><span class="text">Adriaen van der Werff</span></a> and <a class="recordlink artists" href="/explore/artists/83665" title="Pieter van der Werff"><span class="text">Pieter van der Werff</span></a> <a class="recordlink artists" href="/explore/artists/83661" title="Adriaen van der Werff"><span class="text">Adriaen van der Werff</span></a> and <a class="recordlink artists" href="/explore/artists/83665" title="Pieter van der Werff"><span class="text">Pieter van der Werff</span></a>
provenance
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Object information
Object category
painting
Support/medium
panel, oil paint
Very fine, plain-weave linen canvas glued to a good quality single-member oak panel. There are two seals of the artist on the verso. The ground is warm buff-coloured and shows through in parts. The painting technique is fine and clearly intended to have a smooth surface. Technical analysis revealed that the sky contains natural ultramarine; it also showed a surprisingly complex layer structure in the sky, with brown, orange and yellow layers below the blue. This structure may indicate that elements of the design were altered as the work was painted or possibly that an older painting was reused. Pentimenti include a change to the red drapery over Minerva. The painting was framed before it was dry: the paint has been pressed and abraded at the edges. The surface has a square craquelure all over, which is related to the slight shrinkage of the canvas; it is raised but secure. The canvas texture is noticeable over much of the image and the tops of the weave are abraded. There is some light wear and some minor scrapes and scuffs in the surface. There are scattered retouchings, particularly on the pale areas of flesh where the craquelure would be most distracting. Previous recorded treatment: 1953, cleaned and restored, Dr Hell; 1990, surface cleaned, P. Lindsay; 2004, technical analysis, L. Sheldon; 2005, cleaned and restored, old label removed and conserved, S. Plender.
Shape/dimensions
rectangle (portrait format) 63,3 x 45,7 cm
Signature/inscription
Information about the signature, dating, inscription or any other mark on the front or back of the art work
Current attribution
Adriaen van der Werff
working period sixteen weeks (notebook Adriaen van der Werff, now in the Historical Museum Rotterdam, included in Gaehtgens 1987 p. 442-444; see also Rotterdam 1973, p. 58 (fig. 49))
and Pieter van der Werff
working period nine weeks
Date
Exact or approximate dating of the described art work; the search parameters adopted for this art work in this database, are found in brackets.
dated 1716 (1716)
Artistically related
Provenance
Exhibitions and literature
Visual documentation
Entered on: 1996-04-24; Last modification: 2018-05-29

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