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Statements

Subject Item
n2:RIV%2F60461446%3A52810%2F10%3A%230000076%21RIV11-MSM-52810___
rdf:type
skos:Concept n17:Vysledek
dcterms:description
In 2007 to 2009 we examined 32 paintings by F. von Amerling using a non-invasive X-ray fluorescence method. The collection of samples was limited as paintings were not in the process of restoration; thus we only collected samples from bent edges of canvas. We found out that he used mainly two types of grounds – oil white and also a two-layer oilground consisting of a bottom clay-based (earthy) layer and a top light layer. F. von Amerling did not change his favorite palette of pigments in that period. He used zinc white only later - in the eighteen fifties. Further, we compared three portraits of the Hilleprand von Prandau painted by Amerling, specifically two portraits of Marianne Norman - Ehrenfels (Levoča, Slovakia, Osijek, Croatia), and a portrait of Marianne´s sister, Alvine, (Osijek, Croatia). The comparison of the paintings suggests that the portrait of Marianne from Levoča (so far without a definite datation) was painted earlier than the portrait of the same person from Osijek (1951). In 2007 to 2009 we examined 32 paintings by F. von Amerling using a non-invasive X-ray fluorescence method. The collection of samples was limited as paintings were not in the process of restoration; thus we only collected samples from bent edges of canvas. We found out that he used mainly two types of grounds – oil white and also a two-layer oilground consisting of a bottom clay-based (earthy) layer and a top light layer. F. von Amerling did not change his favorite palette of pigments in that period. He used zinc white only later - in the eighteen fifties. Further, we compared three portraits of the Hilleprand von Prandau painted by Amerling, specifically two portraits of Marianne Norman - Ehrenfels (Levoča, Slovakia, Osijek, Croatia), and a portrait of Marianne´s sister, Alvine, (Osijek, Croatia). The comparison of the paintings suggests that the portrait of Marianne from Levoča (so far without a definite datation) was painted earlier than the portrait of the same person from Osijek (1951).
dcterms:title
Painting Technique of Portraits painted in the 19th century by Friedrich von Amerling Painting Technique of Portraits painted in the 19th century by Friedrich von Amerling
skos:prefLabel
Painting Technique of Portraits painted in the 19th century by Friedrich von Amerling Painting Technique of Portraits painted in the 19th century by Friedrich von Amerling
skos:notation
RIV/60461446:52810/10:#0000076!RIV11-MSM-52810___
n3:aktivita
n16:Z n16:I
n3:aktivity
I, Z(MSM6046144603)
n3:dodaniDat
n5:2011
n3:domaciTvurceVysledku
n18:8006385 n18:9221972
n3:druhVysledku
n8:D
n3:duvernostUdaju
n15:S
n3:entitaPredkladatele
n11:predkladatel
n3:idSjednocenehoVysledku
277928
n3:idVysledku
RIV/60461446:52810/10:#0000076
n3:jazykVysledku
n12:eng
n3:klicovaSlova
Friedrich von Amerling; painting technique; materials investigation; portraits of countesses Marianne and Alvine Hilleprand von Prandau
n3:klicoveSlovo
n7:portraits%20of%20countesses%20Marianne%20and%20Alvine%20Hilleprand%20von%20Prandau n7:painting%20technique n7:Friedrich%20von%20Amerling n7:materials%20investigation
n3:kontrolniKodProRIV
[CD527F4959C8]
n3:mistoKonaniAkce
Prague
n3:mistoVydani
Prague, Czech Republic
n3:nazevZdroje
ACTA ARTIS ACADEMICA 2010: THE STORY OF ART - ARTWORK CHANGES IN TIME
n3:obor
n4:AL
n3:pocetDomacichTvurcuVysledku
2
n3:pocetTvurcuVysledku
2
n3:rokUplatneniVysledku
n5:2010
n3:tvurceVysledku
Hradilová, Janka Mislerová, Hana
n3:typAkce
n6:EUR
n3:wos
000288141200008
n3:zahajeniAkce
2010-11-24+01:00
n3:zamer
n21:MSM6046144603
s:numberOfPages
10
n19:hasPublisher
Akademie výtvarných umění, Praha
n10:isbn
978-80-87108-14-7
n14:organizacniJednotka
52810