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Gothic painted decorations in the Gallery of the castle in Lidzbark Warminski

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    0390197 - ÚACH 2013 RIV CZ eng C - Konferenční příspěvek (zahraniční konf.)
    Hradil, David - Hradilová, J. - Švarcová, Silvie - Bezdička, Petr - Čermáková, Zdeňka - Bartlová, M.
    Gothic painted decorations in the Gallery of the castle in Lidzbark Warminski.
    ACTA ARTIS ACADEMICA 2012: KNOWLEDGE AND EXPERIENCE IN THE FINE ART. PRAHA: Akademie výtvarných umění v Praze, 2012, s. 71-78. ISBN 978-80-87108-33-8.
    [Interdisciplinary Conference of ALMA /4./. Praha (CZ), 21.11.2012-23.11.2012]
    Institucionální podpora: RVO:61388980
    Klíčová slova: Lidzbark Warmiński * Gothic mural paintings * ni-bearing laterite * chrysoprase * lead-tin yellow
    Kód oboru RIV: CA - Anorganická chemie

    Materials research was aimed at finding specific characteristics, which could indicate the provenance of mural paintings uncovered in Bishops castle in Lidzbark Warmiński, northeast Poland. An expected relation of these murals to Bohemian artistic workshops, which were active in the 14th century at the Emperor Charles IV’s court in Prague, was supported by further exact data. The lead-tin yellow – type II was identified by X-ray microdiffraction; up to the present day, this uncommon modification of the pigment was proved solely in the Bohemian painting of the 14th century (e.g. Master of Třeboň altarpiece) and in the Italian painting of the 14th to 16th century. Nickel is an element accompanying natural iron-based pigments and was found both in the painting and the drawing, respectively. It is possible to demonstrate that this admixture indicates the source locality of the pigment in Lower Silesia, which belonged to the Kingdom of Bohemia in the 14th century and was exploited for chrysoprases – green gemstones frequently appearing in Bohemian jewellery and wall decorations (St. Wenceslas chapel in the Prague’s cathedral, Karlštejn Castle). Lidzbark murals exhibit features similar to the panel painting, e.g. the use of tempera, natural chalk in the preparatory layer, lead pigments and madder lakes in the painting. The madder was extracted from the wool fibres, which are still clearly visible in the samples.
    Trvalý link: http://hdl.handle.net/11104/0219077
     
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