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Technical analysis of Abraham Janssens' Entombment in the National Museum in Warsaw

Technical analysis of Abraham Janssens' Entombment in the National Museum in Warsaw 211 GRZEGORZ JANCZARSKI Technical analysis of Abraham Janssens' Entombment in the National Museum in Warsaw* Technical analysis of Abraham Janssens' Entombment revealed some interesting data affording a better understanding and interpretation of the painting. Conservation treatment presented a unique opportunity for a thorough examination of this work. Several paint samples were analysed to establish the structure of the ground and the paint layers, as well as the painting techniques, pigments and mediums employed. Support For his painting, Janssens used a fine, plain tabby weave linen canvas (16 threads in the warp and 20 in the weft). No original tacking margins are present in the can- vas. The extant turnovers (on the sides and at the bottom) are fairly shredded and partially covered by paint related to the colours of the front surface. The top edge must have been trimmed at some point and is now straight, 1 . 5 cm above an exist- ing seam. Observation of the threads around the edges of the canvas reveals no re- current distortion of the weave pattern. The absence of cusping along the edges and the presence of well-preserved paint on the turned-over edges, and the uneven mar- gins on the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oud Holland - Quarterly for Dutch Art History Brill

Technical analysis of Abraham Janssens' Entombment in the National Museum in Warsaw

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Publisher
Brill
Copyright
© 2001 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0030-672x
eISSN
1875-0176
DOI
10.1163/187501701X00253
Publisher site
See Article on Publisher Site

Abstract

211 GRZEGORZ JANCZARSKI Technical analysis of Abraham Janssens' Entombment in the National Museum in Warsaw* Technical analysis of Abraham Janssens' Entombment revealed some interesting data affording a better understanding and interpretation of the painting. Conservation treatment presented a unique opportunity for a thorough examination of this work. Several paint samples were analysed to establish the structure of the ground and the paint layers, as well as the painting techniques, pigments and mediums employed. Support For his painting, Janssens used a fine, plain tabby weave linen canvas (16 threads in the warp and 20 in the weft). No original tacking margins are present in the can- vas. The extant turnovers (on the sides and at the bottom) are fairly shredded and partially covered by paint related to the colours of the front surface. The top edge must have been trimmed at some point and is now straight, 1 . 5 cm above an exist- ing seam. Observation of the threads around the edges of the canvas reveals no re- current distortion of the weave pattern. The absence of cusping along the edges and the presence of well-preserved paint on the turned-over edges, and the uneven mar- gins on the

Journal

Oud Holland - Quarterly for Dutch Art History – Brill

Published: Jan 1, 2001

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