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.
Inhaltsverzeichnis (Table of Contents)
- Abstract
- Key words:...
- Premise
- Introduction
- The "Madre della Consolazione" icon in the Museum of Torcello/Venice
- Catalogue data
- Description
- Support
- Primer
- Paint layers
- Paint application/technique:
- Surface finish:
- Attribution
- Iconography
- Denomination and origin of the iconographic type
- The Madre della Consolazione icon in Russia (Mother of God Palestinskaja)
- About the mutual influences among the artistic traditions of Byzantium, Italy and Russia in the post-Byzantine period
- Conclusion
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
The main objective of this study is to clarify the attribution and origins of the "Madre della Consolazione" icon, particularly its relationship to Russian post-Byzantine iconography and Italian Renaissance painting. The study seeks to contribute to a more precise understanding of the iconographic type, distinguishing between originals, copies, and replicas, and to explore the influence of Byzantine art on other artistic traditions, including Western European art, as well as the reverse process of Westernization in Orthodox painting. The study will also examine the technical and technological aspects of the icon, tracing the evolution of painting techniques from traditional egg tempera to oil painting and the impact of this evolution on the visual imagery.
- The attribution and origins of the "Madre della Consolazione" icon
- The relationship between Russian post-Byzantine iconography and Italian Renaissance painting
- The influence of Byzantine art on other artistic traditions
- The technical and technological aspects of the icon, including the evolution of painting techniques
- The impact of technical and technological characteristics on the significance of the imagery
Zusammenfassung der Kapitel (Chapter Summaries)
The "Premise" chapter introduces the "Madre della Consolazione" icon and its unique characteristics, including its chromatic palette, incarnate construction, and gilding technique. It also notes that the icon has never been published and that previous attributions have been inaccurate. The chapter goes on to discuss the challenges of studying and presenting Orthodox art works assimilated in Western Europe, particularly the difficulty in distinguishing between icons and religious paintings, originals and copies, and the need for standardized technical definitions.
The "Introduction" chapter provides a more detailed background on the "Madre della Consolazione" icon and its iconographic type, exploring its historical development and variations in different artistic traditions. The chapter also outlines the methodology and scope of the study, emphasizing the importance of examining the technical and technological aspects of the icon.
The chapter "The "Madre della Consolazione" icon in the Museum of Torcello/Venice" provides a detailed description of the icon, including its catalogue data, support, primer, paint layers, paint application/technique, and surface finish. The chapter also explores the icon's historical context and its significance within the museum's collection.
The "Attribution" chapter examines the attribution of the icon, drawing on iconographic, stylistic, and technical evidence to challenge previous attributions and propose a more accurate understanding of the icon's origins.
The chapter "Iconography" explores the iconography of the "Madre della Consolazione" type, tracing its origins and variations in different artistic traditions, including Russia and Italy. The chapter also discusses the relationship between Byzantine, Italian, and Russian art in the post-Byzantine period and the impact of these mutual influences on the development of the iconographic type.
Schlüsselwörter (Keywords)
The main keywords and focus topics of this study include "Madre della Consolazione," Russian iconography, post-Byzantine painting, Italian Renaissance art, iconographic type, attribution, technical analysis, mixed techniques, and the influence of Byzantine art on other artistic traditions.
- Quote paper
- Ph.D. Magdelena Stoyanova (Author), 2019, The “Madre della Consolazione” icon in the Museum of Torcello / Venice and the relation of Russian post Byzantine iconography to Italian Renaissance painting, Munich, GRIN Verlag, https://www.grin.com/document/463754
