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III. Apport des accès transnationaux : études de cas
A. Contribution à la connaissance des œuvres

The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling

L’incidence des nouvelles données sur l’identification et l’attribution. L’exemple d’une œuvre de la Renaissance septentrionale, le triptyque du Jugement dernier de Rogier van der Weyden et Hans Memling au Musée national de Gdansk
Iwona Szmelter
p. 84-89

Résumés

Le triptyque du Jugement dernier conservé au Musée national de Gdansk est l’une des œuvres les plus mystérieuses de la première Renaissance flamande. Vers la fin des années 1960, des examens de laboratoire ont révélé la présence d’une autre peinture sous la surface. Mais il a fallu attendre 2012-2014 pour pouvoir identifier l’image cachée et en distinguer les détails. Aucun document historique connu à ce jour ne fournit d’indication sur l’origine de cette œuvre, dont l’attribution a suscité bien des controverses. L’hypothèse Hans Memling avancée en 1843 par H. G. Hotho resurgit régulièrement. La première et unique date attestée dans l’historique du triptyque est celle du 27 avril 1473, date à laquelle des pirates s’en sont emparés sur le navire qui le transportait de Bruges à Fiesole. Ce butin de guerre hanséatique a été transmis ensuite à la basilique Sainte-Marie de Gdansk. L’œuvre a fait l’objet de toutes sortes d’analyses, depuis l’enquête humaniste jusqu’à la détermination des propriétés physico-chimiques. On a découvert que la surface se composait de plusieurs couches de tempera et peinture à l’huile appliquées sur du chêne. Une étude dendrochronologique conduite par Tomasz Wazny a démontré que la préparation du support en bois remontait à la fin de l’année 1460. Ces données permettent d’envisager la date et l’origine de l’œuvre sur de nouvelles bases. Le septième programme-cadre (7e PC) de l’Union européenne a financé en 2012-2014 une série d’examens scientifiques effectués en collaboration avec un groupe international de chercheurs travaillant dans le cadre du programme européen CHARISMA MOLAB et ARCHLAB. Grâce à cet accès aux instruments scientifiques et aux savoirs les plus en pointe au niveau européen, les recherches menées au sein d’ARCHLAB au C2RMF visaient à confronter les résultats des différents examens du Jugement dernier avec les documents existants et avec nos informations sur d’autres œuvres de Rogier van der Weyden et de Hans Memling.
Les résultats obtenus dans le proche et moyen infrarouge (PIR et MIR) concernant les diverses strates du triptyque ont confirmé la thèse des dates 1460-1467 au lieu de 1466-1467, et l’exécution en trois étapes, Rogier van der Weyden ayant sans doute appliqué les couches d’impression avec ses collaborateurs. C’était la norme dans les ateliers du xve siècle. Hans Memling a probablement achevé la composition et appliqué les couches finales (son apport le plus ancien et le plus important à l’histoire de la peinture).
Ces résultats éclairent les origines proto-renaissantes de la peinture flamande du xve siècle, née dans le nord de l’Europe.

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Texte intégral

Introduction

  • 1 Szmelter, Cartechini, Romani, Pezzati., 2014, p. 230-251.

1The multi-criteria research projects devoted to identifying the authors of the altarpiece triptych kept in the National Museum in Gdańsk were conducted by the Faculty of Conservation in Warsaw and CHARISMA-MOLAB, both coordinated by the author in 2010-2014. It included the ARCHLAB project as well. The thesis of the paper is that The Last Judgement showed an artistic practice of several authors exploring nature and their intended subjects in a new way of the so-called Early Northern Renaissance1.

Fig. 1. The triptych of the Last Judgement attributed to Hans Memling, National Museum in Gdańsk (inventory number MNG/SD/413/M)

Fig. 1. The triptych of the Last Judgement attributed to Hans Memling, National Museum in Gdańsk (inventory number MNG/SD/413/M)

© Photo Roman Stasiuk and Iwona Szmelter, 2010/Archive of Faculty WKiRDS ASP in Warsaw, Poland.

Known early history of the triptych

  • 2 Faries, 1997, passim.

2The earliest historical reference that can be used to date the triptych mentions its capture by Gdańsk pirates in 1473 and the ensuing lawsuit against the Hanseatic League. Authorship of the masterpiece has been reattributed many times. Information on important changes in the composition and divergence from the underdrawings was published by Molly Faries in 19972.

Oak support. The impact of the results of dendrochronological studies

  • 3 Szmelter,Ważny, 2013, p. 62-63, p. 173-174.

3Tomasz Ważny’s dendrochronological examination of the support of The Last Judgement showed that it was constructed from so-called “Baltic oak” boards. The wood for The Last Judgement could have been delivered to the artist’s workshop at the end of 1460. Taking the above factors into account, in conjunction with the date of Rogier van der Weyden’s death in June 1464, the results of the dendrochronological analysis in conjunction with the earliest possible production date situate the construction of the painting support towards the end of 1460. This then does not preclude Rogier van der Weyden’s participation in the creation of the masterwork The Last Judgement3.

The identification of the materials and art process of The Last Judgement

4The first studies in 2010 revealed some of the exceptional details used to create the altarpiece and the various phases of execution. The work was examined and documented using visible light photography, IRR, UVF, X-ray radiography. Results received by Warsaw’s Conservation Faculty suggest that Rogier van der Weyden could have contributed significantly to the design and execution of the painting, including several stages of underpainting and several final paints, especially concerning the iconography of the most important persons of the paintings. The design was similar to other works by van der Weyden, e.g. the Triptych Family Braque at the Louvre in Paris and The Annunciation at The Metropolitan Museum in New York and The Last Judgement in the Hôtel-Dieu, Beaune, France, painted c. 1443-1452 (fig. 2).

Fig. 2. The comparison of IRR of the central section of the Last Judgement

Fig. 2. The comparison of IRR of the central section of the Last Judgement

a) polyptych of Rogier van der Weyden in Beaune (circa 1443-1452); ©  C2RMF. b) triptych by Hans Memling, IRR at 1000-1200 nm; c) triptych by Hans Memling (~1460-1471), MNIR at 2265 nm. © Mattia Patti 2013 for CHARISMA-MOLAB project/Archive of Faculty WKiRDS ASP in Warsaw, Poland.

  • 4 XRD and XRF were performed directly on the panels by means of the two mobile instruments by the tea (...)

5The aim for furthering quality research was to broaden our knowledge of the work and to verify known facts in the best way. The first phase of the CHARISMA diagnostic campaign consisted of an in situ analytical survey of the triptych using non-invasive analytical equipment provided by MOLAB. The second phase comprised targeted sampling of representative areas in order to answer specific questions that arose during the non-invasive investigation and related mostly to the preparation of cross-sections of the paint layers. In the third phase, MNIR studies were done. The fourth phase was XRD/XRF studies. The fifth was ARCHLAB research in the C2RMF in Paris. The in situ investigations were based on multipoint analyses by Fourier Transform near- and mid-infrared reflectance spectroscopy (using near-IR and mid-IR, respectively), ultraviolet-visible (UV-VIS) reflectance and fluorescence spectroscopy and measurements of luminescence lifetimes (time-correlated single-photon counting – TCSPC), plus X-ray fluorescence (XRF) and X-ray diffraction (XRD)4. Scanning Electron Microscopy (SEM), equipped with an energy dispersive spectrometer (EDS) and reflectance mid-FTIR micro-spectroscopy were both used to study micro-samples and gain information on the stratigraphy of the painting.

Results

6In the ground layers, both calcite (CaCO3) and two types of lead white (basic lead carbonate in the form of cerussite, PbCO3, and hydrocerussite, 2PbCO3·Pb(OH)2) were found. This is different from the ground of Christ with singing and music-making angels, in Ghent Museum by CHARISMA team which also contained gypsum (CaSO4). The mineral pigments used for the ground and paint layers were identified using mid-FTIR, XRF, XRD and SEM-EDS, carried out in situ. Yellow, red/orange and brown tones correspond to a mixture of ochres, vermillion and lead white. Lead tin yellow was used in the more brilliant tones of yellow. The colorant present is madder; anthraquinone was identified by its UV-VIS emission and absorption spectra. For the blues, the research indicates that azurite (Cu3(CO3)2(OH)2) was used predominantly for the blue tones, but in some details, such as the garment of Christ, the natural form of ultramarine, lapis lazuli, was used. Two other blue pigments were identified in the triptych: 1) smalt, found in the sky of the central panel; it was identified by XRF, XRD and SEM-EDS on micro-samples, and 2) Prussian blue, which dates to the early 18th century; it was identified using reflectance mid-FTIR spectroscopy and found in almost all of the blue areas on the front of all three panels. The presence of this pigment is probably due to in-painting during restoration in the 18th, 19th and/or 20th centuries. Greens are detected to be copper based, although an accurate identification of the mineral content was not possible due to the intrinsic difficulty in discriminating between the compounds typically used. Binders were identified in the paint layers, indicating both the use of oils and proteins. In the varnish layers both natural and synthetic resins (probably from recent conservation interventions) were identified by reflectance mid-FTIR spectroscopy.

The secret of the Redeemer’s portrait

7The unique portrait of the Redeemer, found on the scales of the Archangel Michael in the central panel was added later. The so-called Portinari head was painted on a separate tin foil support, which was subsequently glued, as an insert, on to the original painted surface.

  • 5 Steyaer, 2012, p. 124-127.

8Rogier van der Weyden used this same procedure in another work, the Seven Sacraments, now kept in the Royal Museum of Fine Arts in Antwerp5. The irregular appearance of the surface of the portrait, as it has many holes in it, is visible to the naked eye as well as being confirmed by analytical investigations, including results by XRD and Optical Coherent Tomography (OCT).

The new information of MNIR results

  • 6 Daffara at all, 2010, p. 847-856.

9New information provided by scanning with Multispectral Near Infrared Reflectography (MNIR) generally confirmed the hypothesis of three stages of design in the central composition and team or double authorship, and showed them in detail6 (fig. 3).

Fig. 3. Compositional changes to the right of the figure of Christ

Fig. 3. Compositional changes to the right of the figure of Christ

a) VIS image of the composition; © Photo Roman Stasiuk. b) underdrawing with 1st version – the Angels with Arma Christi, MNIR at 2265 nm; c) 2nd composition showing the 1st portraits
of Apostles, X-radiography; © Photo Roman Stasiuk. d) 3rd version –portraits of Apostles, MNIR at 2265 nm.
© Mattia Patti 2013 for CHARISMA-MOLAB project/Photo Roman Stasiuk and Iwona Szmelter, 2010/Archive of Faculty WKiRDS ASP in Warsaw, Poland.

10In clarifying previous discoveries in the upper left and upper right sides of the central panel, the first phase of the composition was detected. The drawing initially depicted angels with Arma Christi, part of this design is visible below parts of the Apostles. The oldest underdrawing is composed with delicate brushstrokes in an abundance of detail. The forms of the angels as well as of the Apostles are similar to figures in other paintings by Rogier van der Weyden. The executed lines are as distinct as handwriting. Characteristic “T” lines, hatches and “dots” present at the end of the brushstrokes are consistent throughout the composition.

11The next phase of the painting practice was applying hatching for the halftones and light shadows and outlining the contours of the forms. The deeper shadows were more closely hatched, and in places cross-hatched to provide more emphasis and psychological interpretations.

12The MNIR investigation also showed that the portraits of the donors on the reverse of the wings of the triptych were painted without any visible underdrawing. Observations using bandwidths between 800-2265 nm did not reveal the presence of underdrawings. It seems that the portrait of Catarina Tanagli was executed in a typical proto-Renaissance alla prima style. Finally, at this stage of the multidisciplinary research project, three stages of design and composition were detected in The Last Judgment, revealing the participation of more than one draughtsman and a painter through using different manners and different materials – what was a new discovery in the field of art history (fig. 4).

Fig. 4. Catarina Tanagli portrait as wife of donor (Angelo Tani) on reverse side of triptych

Fig. 4. Catarina Tanagli portrait as wife of donor (Angelo Tani) on reverse side of triptych

Results of SMIRR (1000, 1700, 2265 nm) showing alla prima proto-Renaissance manner of painting, minimal underdrawing and the VIS image of this figure.

© Mattia Patti 2013 for CHARISMA-MOLAB project/Archive of Faculty WKiRDS ASP in Warsaw, Poland.

Conclusion

13The results confirmed that the triptych The Last Judgment was painted using techniques and materials typical of the Flemish style dating to the second half of the 15th century. The MNIR images show several phases of the design and traces of the different tools and materials used in the initial layout of the composition. The initial design appears to relate to the style of other known works by Rogier van der Weyden, such as The Last Judgment, kept in Beaune, a polyptych painted c. 1446-1452. Thus the Gdańsk triptych’s composition could have been designed and painted in several steps: commissioned and begun by Rogier van der Weyden, before his death in 1464; the oak support could have been ready for painting at the end of 1460, and – based on technical evidence – continued by Hans Memling. In a long-term project, such as this one, fruitful collaboration between researchers, conservators and art historians represents the best solution for understanding this fascinating but problematic Flemish triptych and its role in the birth of the Northern Renaissance.

This work has been carried out through the support of the EU within the seventh FP CHARISMA Project. Great thanks to all the co-workers whose list is too long for quotation. First of all the researchers of MOLAB, in particular Antonio Sgamellotti, Laura Cartechini, Bruno Brunetti, Constanza Miliani, Aldo Romani and Mattia Patti from University of Perugia, Luca Pezzati from INOA-Florence plus Chiara Anselmi, Brenda Doherty and Francesca Rosi from the CNR-ISTM in Perugia. Polish researchers Piotr Targowski-UMK Toruń, Roman Stasiuk and Piotr Zambrzycki-WKiRDS Warsaw. The author also thanks very much to Philippe Walter, Hélène Rousselière, E. Van Elslande from LAMS, Paris.

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Bibliographie

Daffara C., Pampaloni E., Pezzati L., Barucci M., Fontana R., 2010, “Scanning Multispectral IR Reflectography SMIRR: An Advanced Tool for Art Diagnostics” in:// Accounts of Chemical Research, Volume 43, p. 847-856.

Faries M., 1997, “The Underdrawing of Memling’s Last Judgment Altarpiece in Gdańsk”. In: Verostraete H., van Schoute R., Smeyers M., Dubois A., (eds). Memling Studies. Proceedings of the International Colloquium (Bruges, 10-12 November 1994), Lueven, 1997, p. 243-259.

Steyaert G., 2012, “The ‘Seven Sacraments’ Some Technical Aspects Observed During Restoration”, in: Camell, L. (ed), Rogier van der Weyden in Context, Peeters Publishers, Paris-Leuven, p. 124-127.

Szmelter I., Cartechini L., Romani A., Pezzati L., 2014, “Multi-criterial Studies of the Masterpiece ‘The Last Judgement’ attributed to Hans Memling, at the National Museum of Gdańsk (2010-2013)”, in: // Sgamellotti A., Brunetti B., Miliani C., Science and Art. The Painted Surface, Royal Society of Chemistry (RSC), Cambridge, p. 230-251.

Szmelter I., Ważny T., 2013, “Interdisciplinary approach to the identification and authorship of ‘The Last Judgement’ triptych from the National Museum in Gdańsk”, in: Wood Heritage; Research and Conservation in 21st century, ICOM-CC papers, NIMOZ Publisher, Warsaw.

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Notes

1 Szmelter, Cartechini, Romani, Pezzati., 2014, p. 230-251.

2 Faries, 1997, passim.

3 Szmelter,Ważny, 2013, p. 62-63, p. 173-174.

4 XRD and XRF were performed directly on the panels by means of the two mobile instruments by the team of the UPMC Univ Paris 06, UMR 8220, LAMS, Paris.

5 Steyaer, 2012, p. 124-127.

6 Daffara at all, 2010, p. 847-856.

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Table des illustrations

Titre Fig. 1. The triptych of the Last Judgement attributed to Hans Memling, National Museum in Gdańsk (inventory number MNG/SD/413/M)
Crédits © Photo Roman Stasiuk and Iwona Szmelter, 2010/Archive of Faculty WKiRDS ASP in Warsaw, Poland.
URL http://journals.openedition.org/techne/docannexe/image/756/img-1.jpg
Fichier image/jpeg, 648k
Titre Fig. 2. The comparison of IRR of the central section of the Last Judgement
Légende a) polyptych of Rogier van der Weyden in Beaune (circa 1443-1452); ©  C2RMF. b) triptych by Hans Memling, IRR at 1000-1200 nm; c) triptych by Hans Memling (~1460-1471), MNIR at 2265 nm. © Mattia Patti 2013 for CHARISMA-MOLAB project/Archive of Faculty WKiRDS ASP in Warsaw, Poland.
URL http://journals.openedition.org/techne/docannexe/image/756/img-2.jpg
Fichier image/jpeg, 660k
Titre Fig. 3. Compositional changes to the right of the figure of Christ
Légende a) VIS image of the composition; © Photo Roman Stasiuk. b) underdrawing with 1st version – the Angels with Arma Christi, MNIR at 2265 nm; c) 2nd composition showing the 1st portraits of Apostles, X-radiography; © Photo Roman Stasiuk. d) 3rd version –portraits of Apostles, MNIR at 2265 nm. © Mattia Patti 2013 for CHARISMA-MOLAB project/Photo Roman Stasiuk and Iwona Szmelter, 2010/Archive of Faculty WKiRDS ASP in Warsaw, Poland.
URL http://journals.openedition.org/techne/docannexe/image/756/img-3.jpg
Fichier image/jpeg, 752k
Titre Fig. 4. Catarina Tanagli portrait as wife of donor (Angelo Tani) on reverse side of triptych
Légende Results of SMIRR (1000, 1700, 2265 nm) showing alla prima proto-Renaissance manner of painting, minimal underdrawing and the VIS image of this figure.
URL http://journals.openedition.org/techne/docannexe/image/756/img-4.jpg
Fichier image/jpeg, 291k
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Pour citer cet article

Référence papier

Iwona Szmelter, « The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling »Technè, 43 | 2016, 84-89.

Référence électronique

Iwona Szmelter, « The impact of new data for identification and authorship: the case of The Last Judgement, triptych from the National Museum in Gdańsk, a Northern Renaissance work, by Rogier van der Weyden and Hans Memling »Technè [En ligne], 43 | 2016, mis en ligne le 19 décembre 2019, consulté le 15 décembre 2025. URL : http://journals.openedition.org/techne/756 ; DOI : https://doi.org/10.4000/techne.756

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Auteur

Iwona Szmelter

Faculty of Conservation, Academy of Fine Arts, Warsaw, Poland
(iwona.szmelter[at]asp.waw.pl)

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