The Master of the
                                                              Fogg Pietà Pilot Project

                ...
An online research tool
e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d                   ~ Ams t e r d a m, 9
w w fpm
                                                               w .m fp.org




         Master of the Fogg Pieta ~...
Aim & Goals
                                                                 s

         • Create a m    odel for internat...
Technical and Historical Research




e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d          ~ Ams t e r d a...
S Lawrence, London                                                                                        Bishop Saint, Lo...
Original Sale Catalogue




                                Rome panels

e e t in g , In s t it uut Co l l e c t ie Ne d e...
Other possible associated panels
                                                               (from Offner)




e e t in...
The Courtauld Gallery




e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d                  ~ Ams t e r d a m, 9
W orcester
                                                         Art Museum




e e t in g , In s t it uut Co l l e c t...
The Fogg Pietà,
                                                              Harvard Art Museum s




e e t in g , In s t...
Jan Herm Van Heek Collection
                                                    an




e e t in g , In s t it uut Co l l ...
God the Father,
                                                        Musée du Petit Palais, Avignon




e e t in g , In...
Saint John the Baptist,
                                          Fondazione Magnani Rocca, Parm   a




e e t in g , In s...
Making disparate research materials available on line




e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d     ...
Santa Croce Crucifix & Figline Maestà




e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d      ~ Ams t e r d a...
Consultation and exchange w project participants
                                   ith
                                  ...
Our approach

         Adapt standard
         components
         12 open-source packages, each is (in our
         opini...
Benefits
                                                              Rapid development
                                 ...
XRF analysis  pigm identification
                                                       ent




e e t in g , In s t it u...
Scans of curatorial files




e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d                     ~ Ams t e r ...
Conservation records




e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d                 ~ Ams t e r d a m, 9
Online comparison of punch-work




e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d             ~ Ams t e r d ...
Scholarly discourse
                                                              • Exchange
                             ...
Online discussion and exchange

                                                                         The water-gilded
...
Eg o e ni(m)
         S tig mata
         domini n
         os tri y h(e s )u
         xpi in cor
         pore me
       ...
• The carefully arranged positioning of each finger, and bend in the scroll,
           reveal the upper half of the w   o...
• First tw lines at the top of the scroll w initially ruled, allow for a full-
                   o                       ...
High resolution X-rays




 n l y pa n e l in t he e n s e mbl e w it h t he o r ig in a l e n g a g e d f r a me
Wo o d g...
High resolution X-rays




e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d                  ~ Ams t e r d a m,...
Rig tag liare – lead white




       the borde r be twe e n fig ure a nd g old ba ckg round is ma rke d by a broa d
     ...
Losses prior to reintegration - 1987




e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d         ~ Ams t e r d...
Ritag liare




         • RItag liare is indeed one of the areas m likely to be lost as can be seen in
                  ...
Ritagliare around the figures of Lucy and Paul, use of lead white for highlights, presence
  of cloth, wormholes and nails...
• It has been suggested that the panels can be dated to ca. 1340,
         • The technique of freehand incised patterns, r...
. . . by inte g rating s ty lis tic and te chnical
                                                         analy s is and...
Future and wider impact
         While the pilot project has focussed on a sm all
          ensem of paintings by an anony...
Bernardo Daddi, Florence 1338
  Courtauld Gallery
                                                                        ...
A closer look:




        Has Daddi, a supreme practitioner, left any signs of planning?
        Did he employ any mechan...
A great leap forward: Paul
                                                                               Cézanne




    ...
Support from the
                                                              Andrew W. Mellon Foundation
               ...
Consultation and exchange w project participants
                             ith
                               Me e ting...
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Austin Nevin/Aviva Burnstock (The Courtauld Institute of Art), Mellon project on the Master of the Fogg Art Pieta

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Austin Nevin/Aviva Burnstock (The Courtauld Institute of Art), Mellon project on the Master of the Fogg Art Pieta

  1. 1. The Master of the Fogg Pietà Pilot Project Austin Nevin, Aviva Burnstock, Caroline Cam pbell & Joanna Cannon Courtauld Institute of Art e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  2. 2. An online research tool e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  3. 3. w w fpm w .m fp.org Master of the Fogg Pieta ~ Maestro di Figline Project e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  4. 4. Aim & Goals s • Create a m odel for international collaborative research • Initiation of newtechnical research and engaging partners • Create a dynam online archive ic • Collaborative w space ork • Gather and share research m aterials and add newm aterial • Include participants from scholarly and education com unities m e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  5. 5. Technical and Historical Research e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  6. 6. S Lawrence, London Bishop Saint, London Fogg Pietà, Harvard God the Father,, Avignon S Lucy & S Paul, ‘s Heerenberg S John the Baptist, Parma S Francis Worcester S Phillip, Worcester e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  7. 7. Original Sale Catalogue Rome panels e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  8. 8. Other possible associated panels (from Offner) e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  9. 9. The Courtauld Gallery e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  10. 10. W orcester Art Museum e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  11. 11. The Fogg Pietà, Harvard Art Museum s e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  12. 12. Jan Herm Van Heek Collection an e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  13. 13. God the Father, Musée du Petit Palais, Avignon e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  14. 14. Saint John the Baptist, Fondazione Magnani Rocca, Parm a e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  15. 15. Making disparate research materials available on line e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  16. 16. Santa Croce Crucifix & Figline Maestà e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  17. 17. Consultation and exchange w project participants ith Me e ting at the Co urtauld Septem 15th 2009 ber •best practices for the sharing of technical information •discuss m ethods of collaborative research •plan m ethods for further interpreting and dissem inating conservation inform ation e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  18. 18. Our approach Adapt standard components 12 open-source packages, each is (in our opinion) the best available in its class Minim softw ise are developm ent Developm w on IIPIm ent ork age to allow panning, browsing and overlaying Newplugins have been released under an open-source license Our ow server n M M running Ubuntu Server, ac ini connected to a large hard disc and a fast internet connection, regularly backed up e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  19. 19. Benefits Rapid development Sim assem of standard com ple bly ponents  lowmaintenance costs Cheap, prototype driven design We are currently on prototype 6. The next version w be the launch design and ill w be online at w w fpm ill w .m fp.org Several m revisions w be carried out during ore ill the project –these w be m ill otivated by end- user feedback throughout the duration of the project Easy to share All parts of the system are free and open; technical docum entation on the site freely available e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  20. 20. XRF analysis  pigm identification ent e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  21. 21. Scans of curatorial files e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  22. 22. Conservation records e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  23. 23. Online comparison of punch-work e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  24. 24. Scholarly discourse • Exchange betw een users has been initiated to discuss central art historical questions • Exam ple: interpretation of the scroll which Saint Francis Holds e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  25. 25. Online discussion and exchange The water-gilded punched borders and use of pigment over water gilding... are the key issues .. Philip’s garments are paint over water Are the borders on St. Philip’s gilding garment executed in Sgraffito? e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  26. 26. Eg o e ni(m) S tig mata domini n os tri y h(e s )u xpi in cor pore me o porto g ratia d(omi)ni n(os t)ri y h(e s )u xp(i) cum s piri tu v e s tro Galatians 6: 17-18 e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  27. 27. • The carefully arranged positioning of each finger, and bend in the scroll, reveal the upper half of the w ords Saint Francis has just finished reading out: ‘ spiritu vestro’ cum . • Franciscans seeing this w ould knowthat Francis w ould nowbe saying, inviting their active participation: ‘fratre s . Ame n ’ e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  28. 28. • First tw lines at the top of the scroll w initially ruled, allow for a full- o ere ing height line of text in each row • Ruling w then painted out and repositioned, leaving space for the as carefully-executed, half-obscured line of text e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  29. 29. High resolution X-rays n l y pa n e l in t he e n s e mbl e w it h t he o r ig in a l e n g a g e d f r a me Wo o d g r a in is c l e a r l y vis ibl e a n d ma t c h e s t ha t o f t he Fo g g Pie t à l o s e r e xa min a t io n hig h l ig h t s s imil a r it ie s in t e c hn iq ue w it h Wo r c e s t e r pa n e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  30. 30. High resolution X-rays e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  31. 31. Rig tag liare – lead white the borde r be twe e n fig ure a nd g old ba ckg round is ma rke d by a broa d contour of le a d white in g lue following g ilding a nd prior to pa inting the fig ure (Ce n n in i) e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  32. 32. Losses prior to reintegration - 1987 e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  33. 33. Ritag liare • RItag liare is indeed one of the areas m likely to be lost as can be seen in ost this X radiograph • Characteristic use of free hand incisions around the edges of figures e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  34. 34. Ritagliare around the figures of Lucy and Paul, use of lead white for highlights, presence of cloth, wormholes and nails e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  35. 35. • It has been suggested that the panels can be dated to ca. 1340, • The technique of freehand incised patterns, reserved against a granulated background, and the repertoire of geom etrical shapes, m point to the influence of Lippo M m and Sim ay em i one M artini, in their w from ca. 1320. ork e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  36. 36. . . . by inte g rating s ty lis tic and te chnical analy s is and apply ing combine d dis cipline s tow ard s olv ing difficult Tre ce nto proble ms w e can anticipate ne w and important dis cov e rie s in the y e ars ahe ad.” N. E. Muller. w w fpm w .m fp.org e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  37. 37. Future and wider impact While the pilot project has focussed on a sm all ensem of paintings by an anonym ble ous M aster, the tools developed could and w be extended ill to focus on scholarly projects in the future • Bernardo Daddi • Paul Cézanne e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  38. 38. Bernardo Daddi, Florence 1338 Courtauld Gallery Nelson Atkins Museum, Kansas Lindenau Museum Altenberg Address questions of quality and production, develop further the applications of the research tool and foster new research e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  39. 39. A closer look: Has Daddi, a supreme practitioner, left any signs of planning? Did he employ any mechanical methods to facilitate repetition in his own work or in that executed by his assistants? e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  40. 40. A great leap forward: Paul Cézanne • Investigate the relationship between his drawing and painting technique e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  41. 41. Support from the Andrew W. Mellon Foundation is gratefully acknowledged Austin Nevin, Coordinator & M ellon Fellow Aviva Burnstock, Joanna Cannon, , Caroline Cam pbell, Clare Richardson, (The Courtauld Institute of Art) John Cupitt (external consultant) Lauren Cox, Teri Hensick, Narayan Khandakhar, Henry Lie, Katherine Olivier, Stephan W olohojian (Harvard Art M useum s) Rita Albertson, Philip Klausm eyer, W inifred Murray, Birgit Strähle (W orcester Art M useum ) Luc M egens, Klaas Jan Van den Berg, (Instituut Collectie Nederland) Roberto Bellucci, Ciro Castelli, Cecilia Frosinini (Opificio delle Pietre Dure) Stefano Roffi (Fondazione M agnani Rocca) Dom inique Vigntain (M usée du Petit Palais) e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9
  42. 42. Consultation and exchange w project participants ith Me e ting at the Co urtauld Septem 15th 2009 ber •best practices for the sharing of technical information •discuss m ethods of collaborative research •plan m ethods for further interpreting and dissem inating conservation inform ation austin.nevin@ courtauld.ac.uk e e t in g , In s t it uut Co l l e c t ie Ne d e r l a n d ~ Ams t e r d a m, 9

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