The only mentioning of this Madre della Consolazione icon to the moment belongs to A. Rizzi who attributes it to any anonymous Cretan-Venetian painter of the 16th c. However, many iconographic and stylistic anomalies examined in this study, make such attribution inacceptable. As well inacceptable result some recent publications trying to suggest that the author of this iconographic type should be the Greek icon painter Nikolaos Zafouris and that his devotional paintings destined to Latin clientele should be icons.
The objectives of the actual revision of these positions are to contribute for a better distinguishing among originals, copies, and replica of the Madre della Consolazione representations known to the moment, and to complete knowledge of existing sources and data regarding the Orthodox and Italian variants of this Mother of God type as regards religious history, names, iconographic prototypes and sub-variants.
The exploration is limited to the microscopic and photographic investigation of the technical-technological aspects of the original. Its guide line is the impact of the post-byzantine painting on other artistic traditions as well as the reverse process, the westernization of the Orthodox painting, and namely: what determined the dynamic of the material & technical upgrading, and if the technical-technological characteristics have any relation to the place of making and to the desired significance of the image; how did traditional egg tempera evolve through mixed techniques to oil painting and how did this influence the plastic construction of the imagery; how was employed the technical knowledge going back to ancient sources.
Table of Contents
1. Introduction
2. The “Madre della Consolazione” icon in the Museum of Torcello/Venice
2.1. Catalogue data
2.2. Description
2.3. Support
2.4. Primer
2.5. Paint layers
2.6. Paint application/technique:
2.7. Surface finish:
3. Attribution
4. Iconography
4.1. Denomination and origin of the iconographic type
4.2. The Madre della Consolazione icon in Russia (Mother of God Palestinskaja)
4.3. About the mutual influences among the artistic traditions of Byzantium, Italy and Russia in the post-Byzantine period
5. Conclusion
Research Objectives and Themes
The research aims to conduct a precise technical and technological investigation of the "Madre della Consolazione" icon housed in the Museum of Torcello/Venice. It challenges existing scholarly attributions by re-evaluating the iconographic and material characteristics, specifically focusing on the relationship between Russian Old Believer production techniques and the Western artistic tradition, while addressing the broader confusion regarding the classification of such works in Western European collections.
- Microscopic and photographic analysis of technical-technological material layers.
- Comparative study of the "Madre della Consolazione" iconographic type in Russian, Byzantine, and Italian contexts.
- Historical evaluation of the role of Russian Old Believer workshops in the 19th-century art market.
- Standardization of technical definitions for the classification of Orthodox heritage in international inventories.
Excerpt from the Book
2.3. Support
The icon support is composed of two (?) old and split reddish hardwood boards (probably Cypress wood), glued together in a panel and strengthened at the backside by two symmetric transversal sticks in coniferous wood, most probably larch, of significant thickness, fixed at the back side with manually produced nails with great heads (hats). The upper transversal bar measures 5 x 38,5 cm, the lower - 5,5 x 42cm; both are 1,3 cm thick. For reference, it should be useful to indicate that in the most encountered constructions the panels are composed of 2, 3, at maximum 5 boards. Their thickness goes from 0,5 to 3-4 cm, very rarely – over 5 cm. To the stabilizing devices of the Torcello icon count also the so called dibli (tipli): small stabs (normally of d 0,2-0.5 cm , length – 5-10 cm) which, like nails, are fixed with hammer and glue in the inner boards of the junctions.
The Cypressus support of the Torcello icon, if analytically confirmed, could be a sign of origin from Greece, Mount Athos or the Low Volga Region. Usually the wood species were selected on base of the regional and geographic peculiarities of the various schools; their choice depended on what the area had to offer, and not rarely the icons were made on wood of low quality.
Summary of Chapters
1. Introduction: Discusses the emergence of art-technical studies on post-Byzantine painting and outlines the methodology for analyzing the internal structure of icons to determine authenticity.
2. The “Madre della Consolazione” icon in the Museum of Torcello/Venice: Provides a detailed cataloging and physical examination of the specific icon, covering aspects from the wood support to the surface finish.
3. Attribution: Re-examines the dating and origin of the Torcello icon, contradicting previous scholarly views and proposing its creation by Russian Old Believers.
4. Iconography: Explores the origins and historical dissemination of the "Madre della Consolazione" type, examining its reception in the Orthodox Church versus the Catholic Church.
5. Conclusion: Summarizes the necessity for objective technical expertise in preserving Orthodox heritage and urges Western institutions to adopt more rigorous documentation standards.
Keywords
Madre della Consolazione, Russian iconography, Post-Byzantine painting, Italian Renaissance art, technical investigation, Old Believers, iconographic type, wood support, levkas, provenance, restoration, art historical research, attribution, material analysis, cultural heritage.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper focuses on the technical and material analysis of a previously unpublished "Madre della Consolazione" icon from the Museum of Torcello to determine its true origin and artistic context.
What are the main thematic fields discussed?
The work touches upon post-Byzantine iconographic traditions, the technical differences between Orthodox and Italian painting methods, and the history of Russian Old Believer icon workshops.
What is the central research question?
The main objective is to identify whether the icon is an original historical work or an artificially aged replica, and how its technical characteristics inform its cultural provenance.
Which scientific methods were employed?
The study utilizes microscopic investigation, photographic documentation of structural elements, and a comparative analysis of historical technical treatises and archival records.
What is covered in the main body of the work?
The main body includes a comprehensive physical description of the icon, an exploration of its iconographic origin, and an assessment of its relationship to the broader artistic traditions of Russia, Byzantium, and Italy.
How would you characterize the keywords of this work?
The keywords emphasize a cross-disciplinary approach linking technical art history, iconography, and the specific historical context of religious artifact production.
Why does the author suggest the icon is a 19th-century work?
The author identifies specific technical anomalies, such as the use of particular pigment combinations and the presence of "artificially aged" crackle patterns, which are typical signatures of Russian Old Believer imitations from that era.
What role did the "Low Volga" region play in the production of these icons?
The Low Volga region was a major center for Old Believer icon-painting, where traditional techniques were preserved while being occasionally influenced by Western artistic motifs to satisfy collectors.
How does the author define the distinction between an icon and a religious painting?
The author notes that an icon is a specific object of worship within the Orthodox Church, governed by strict iconographic norms, whereas a religious painting lacks these specific liturgical requirements.
- Citar trabajo
- Ph.D. Magdelena Stoyanova (Autor), 2019, The “Madre della Consolazione” icon in the Museum of Torcello / Venice and the relation of Russian post Byzantine iconography to Italian Renaissance painting, Múnich, GRIN Verlag, https://www.grin.com/document/463754
