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Adriaen van der Werff en Pieter van der Werff

Het oordeel van 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> en <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> en <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> en <a class="recordlink artists" href="/explore/artists/83665" title="Pieter van der Werff"><span class="text">Pieter van der Werff</span></a>
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Object gegevens
Objectcategorie
schilderij
Drager/materiaal
paneel, olieverf
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.
Vorm/maten
staande rechthoek 63,3 x 45,7 cm
Signatuur/opschrift
Informatie over de signatuur, datering, opschrift of merk op de voor- of achterzijde van het kunstwerk
Huidige toeschrijving
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))
en Pieter van der Werff
working period nine weeks
Datering
Exacte of globale datering van het kunstwerk; de zoekmarges van het werk in deze database staan tussen haakjes.
1716 gedateerd (1716)
Artistiek verband
Herkomst
Tentoonstellingen en literatuur
Beelddocumentatie
Ingevoerd op: 1996-04-24; Laatste wijziging: 2018-05-29

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