Kanuto Rusecko (1800– 1860) tapybos darbų technologiniai tyrimai

LTStraipsnyje pateikti penkių Kanutui Ruseckui priskiriamų paveikslų technologinių tyrimų rezultatai, aprašyta paveikslų tapybos technika ir medžiagos. Paveikslų būklė, kompozicijos ir technologijos ypatumai buvo nustatyti paveikslus tiriant ultravioletine (UV), infraraudonąja (IR) ir rentgeno spinduliuote. Palyginamieji potėpių tyrimai atlikti analizuojant tapybos makronuotraukas. Dailininko naudotos medžiagos – drobė, gruntas, tapybos paletė – buvo identifikuotos naudojant optinę mikroskopiją (OM), mikrocheminę ir morfologinę analizę, Furjė infraraudonųjų spindulių spektroskopiją (FTIR) ir rentgeno spindulių fluorescencinę analizę (XRF). [Iš leidinio]Reikšminiai žodžiai: Kanutas Ruseckas; Pjovėja; Lietuvaitė su verbomis; Tapybos technika; UV; IR; Rentgenografija; OM; FTIR; XRF; Kanuty Rusiecki; Reaper; Lithuanian Girl with Palm Sunday Fronds; Painting technique; UV; IR; Radiography; OM; FTIR; XRF.

ENThe article presents the results of the technological analysis of five paintings attributed to Kanuty Rusiecki, and a description of their painting technique and materials. The authors analysed four paintings of The Reaper, two of which are held at the Lithuanian Art Museum (LAM), one belongs to a private collection, and one is held at the Samogitian Alka Museum (SAM), as well as another famous painting by Rusiecki, Lithuanian Girl with Palm Sunday Fronds, which is very similar to The Reaper in all aspects, held at the LAM. The comparative technological analysis was performed upon noticing that the SAM copy of The Reaper differs from other paintings by Rusiecki in certain colour solutions and is of much larger size. Thus a question arose if the SAM copy of The Reaper was indeed painted by Rusiecki. The condition of the paintings and their compositional and technological features were revealed through an ultraviolet (UV), infrared (IR) and X-ray analysis. A comparative analysis of brushstrokes was conducted from macro photographs. The materials used by the artist – canvas, base coating, painting colours – were identified through optical microscopy (OM), microchemical and morphological analysis, Fourier transform infrared spectroscopy (FTIR) and X-ray fluorescence analysis (XRF).The IR analysis showed that the SAM copy of The Reaper was painted without a preliminary drawing, which was found in the other paintings. The X-ray analysis revealed that the painting of the face and the hands of the SAM copy of The Reaper was very dim and indistinct, while in the other paintings the flesh colour was quite vivid, and their radiographs revealed distinct features of chiaroscuro modelling. While analysing the details of the paintings – eye reflections and details of the clothes and the landscape, it was noticed that the painting manner of the SAM copy is also markedly different from the painting manner of the other copies. The analysis of the painting materials showed that the chemical structure of the base coating and the colour range of all five paintings are quite similar and typical of the 19th century. The only pigment that was found in the SAM copy and was absent in the other paintings was synthetic ultramarine. Referring to the above-mentioned facts, a conclusion can be made that the creation technique, the modelling of the woman’s face and hands, and the details of the clothes and the landscape of the SAM copy differ from the other paintings by Rusiecki that were analysed. However, the chemical structure of the base coating and the paints confirms that the SAM painting The Reaper was undoubtedly painted in the 19th century. [From the publication]