- unknown, Slovenian artist
-middle Europe - Slovenia
- turn over 17. a 18. century
- baroque
- 279cm x 164 cm
- Price by agreement
- restored 2013–2015, Mgr. Radomír Surma, academic artist and restorer
The artwork comes from a private collection in Slovenia, which is probably the place of its origin. It is reflected in the character of the painting as well as the realist landscape - the rocky tops of the mountains rising above the biblical Jerusalem. Unfortunately, the restorer's research revealed only illegible fragments of an unknown author's signature. The monumental size and composition of the work suggest that it was originally placed in a church interior. Possibly it was a centrepiece of a side altar dedicated to the Holy Cross, however, it cannot be excluded that the painting may have been used as a Lententide painting covering the main altar of the church during Lent. The author of the painting was probably inspired in the selection of the composition by an older work in the form of a graphic. The technology of the painting on thin red bole ground as well as the rough hemp canvas correspond with the period of 17th and 18th centuries. In order to determine the time more accurately, a more detailed research of painting in the particular area would be necessary.
In view of its critical condition, the painting went through a demanding process of restoration between 2013 and 2015. The non-adjusted canvas was damaged badly, in particular on the edges it was torn and broken, the paint was falling off in many places, sometimes including the ground, parts of the pigment layer were missing. The surface of the painting was covered with brownish, severely degraded varnish and stained with bird droppings. However, a probe with ultraviolet light confirmed the originality of the work as well as the fact that the authentic paint layer was preserved without any traces of any more recent interference. The restoration focused mainly on preserving and consolidating the material substrate of the work as a whole, the canvas was stretched on a new sub-frame made of vintage wood, the deposits and the degraded varnish were removed and defects in the canvas and the paint layer were retouched sensitively in order to preserve the authentic historical painting. The surface was subsequently covered in a new protective varnish layer (for details see the Restoration Report by Mgr. Radomír Surma).
The restored painting became one of the central exhibits of the exhibition titled NEW AND EVERLASTING COVENANT | The cult of the Eucharist in visual art, held in the Olomouc Archdiocesan Museum in 2015 on the occasion of the liturgical year of the Eucharist that accompanied the National Eucharistic Congress, fig. 9, 10.
The painting comes from a private collection in Slovenia and is not registered in any Czech (PSEUD – portal of the artworks register system) or international (ALR – The Art Loss Register) database of stolen or missing works of art.
-middle Europe - Slovenia
- turn over 17. a 18. century
- baroque
- 279cm x 164 cm
- Price by agreement
- restored 2013–2015, Mgr. Radomír Surma, academic artist and restorer
The artwork comes from a private collection in Slovenia, which is probably the place of its origin. It is reflected in the character of the painting as well as the realist landscape - the rocky tops of the mountains rising above the biblical Jerusalem. Unfortunately, the restorer's research revealed only illegible fragments of an unknown author's signature. The monumental size and composition of the work suggest that it was originally placed in a church interior. Possibly it was a centrepiece of a side altar dedicated to the Holy Cross, however, it cannot be excluded that the painting may have been used as a Lententide painting covering the main altar of the church during Lent. The author of the painting was probably inspired in the selection of the composition by an older work in the form of a graphic. The technology of the painting on thin red bole ground as well as the rough hemp canvas correspond with the period of 17th and 18th centuries. In order to determine the time more accurately, a more detailed research of painting in the particular area would be necessary.
In view of its critical condition, the painting went through a demanding process of restoration between 2013 and 2015. The non-adjusted canvas was damaged badly, in particular on the edges it was torn and broken, the paint was falling off in many places, sometimes including the ground, parts of the pigment layer were missing. The surface of the painting was covered with brownish, severely degraded varnish and stained with bird droppings. However, a probe with ultraviolet light confirmed the originality of the work as well as the fact that the authentic paint layer was preserved without any traces of any more recent interference. The restoration focused mainly on preserving and consolidating the material substrate of the work as a whole, the canvas was stretched on a new sub-frame made of vintage wood, the deposits and the degraded varnish were removed and defects in the canvas and the paint layer were retouched sensitively in order to preserve the authentic historical painting. The surface was subsequently covered in a new protective varnish layer (for details see the Restoration Report by Mgr. Radomír Surma).
The restored painting became one of the central exhibits of the exhibition titled NEW AND EVERLASTING COVENANT | The cult of the Eucharist in visual art, held in the Olomouc Archdiocesan Museum in 2015 on the occasion of the liturgical year of the Eucharist that accompanied the National Eucharistic Congress, fig. 9, 10.
The painting comes from a private collection in Slovenia and is not registered in any Czech (PSEUD – portal of the artworks register system) or international (ALR – The Art Loss Register) database of stolen or missing works of art.
Dotaz na prodejce