Academic thesis
| Anneliese Földes: | Examination, conservation and restoration of the panel painting "Mary with Child" (Benda-Madonna, around 1480) from the collection of the Kunsthistorisches Museum in Vienna | Back |
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| Abstract: | The panel painting Virgin and Child (ca. 1480), which entered the collection of the Kunsthistorische Museum as a legacy of the Austrian industrialist Gustav von Benda, is the eponymous work by an anonymous painter who worked in the late medieval Upper-Rhenish region. Apart from a few surviving works there is nothing known about the so-called Master of the Benda-Madonna – however, he is considered as one of the best and most independent artists in the circle and succession of Martin Schongauer, respectively. Within the framework of the thesis, a comprehensive examination and conservation-restoration of the painting was carried out. The attempt was made to establish the technical profile of the unknown artist and to place it in the context of the current state of research. Through close visual examination of the painting surface in combination with technical imaging (IRR, X-ray, MA-XRF) and scientific analysis (cross sections, SEM/EDX, GC/MS), the materials, techniques and secondary layers used could be determined and related to changes and ageing processes. Characteristics in the painting technique such as the use of the rarely identified pigment vivianite and addition of colourless ground glass could be established. Another work by the master in the Staatliche Kunsthalle Karlsruhe was also examined in order to put the results in a broader context. Due to its state of preservation, the painting had not been exhibited for a long time. Past interventions, such as the application of a massive cradle to flatten the panel and secure old cracks, had led to a recent split and washboard deformation. The nuanced painting style and brilliant colors remained hidden beneath the numerous yellowed layers of varnish. One of the main focuses of the practical work was the stabilization of the wooden support. The rigid cradle was removed in order to be able to glue splits and the warping of the panel was measured before and after structural treatment. The removal or reduction of the secondary coatings formed another focus. A multi-step cleaning approach was developed – with special consideration of the potential of water-in-oil emulsions – with which it was also possible to reduce hardly soluble, linseed-oil-containing residues and to bring out the quality of the painting as well as the characteristic technique of the little studied master. |
| Keywords: | : Master of the Benda-Madonna, panel painting, Vivianite, MA-XRF Scanning, cradling, warping Measurement, cradle removal, gluing of splits, multi-step cleaning approach, water-in-oil emulsion |
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