Venetian Painting of the 15th and 16th century in the Alte Pinakothek Munich, with special focus on painting technology

这个跨学科研究项目的目的是探索各种艺术和技术因素之间的关系，这些因素形成了16世纪威尼斯绘画特有的绘画风格的转变。从历史上看，巴伐利亚国家绘画收藏馆的藏品为文艺复兴时期的威尼斯绘画提供了具有代表性的见解，为一个由艺术历史学家、修复师和科学家组成的跨学科团队提供了一个机会，可以追溯威尼斯画家处理作品材料和创作过程本身的方式的变化。通过将艺术史检查与修复专业知识和科学分析相结合，该项目专注于以下问题：在艺术史术语中，是否有一种技术上与笔触相对应的笔触--如果是这样的话，它的材料质量如何被指定？通常被描述为“开放”的油漆的应用是否一定要在底漆、涂抹和下拉中进行修改？笔法的改变是普遍提高了工作过程的速度，还是恰恰因为它的开放性而放慢了工作过程的速度？当代艺术理论颂扬了有意识地展示技术上的勇敢，这传达了一种印象，即艺术家轻松地提出了他的想法。因此，这种新的绘画模式是艺术主权日益增长的一种表现吗？因此，它在画家的“晚期风格”中特别明显吗？看似自发的作品面向的是乐于接受的公众，他们理解开放的绘画风格作为创作过程的一部分和一种新的表现形式的感官价值。因此，画笔的可见笔触，以其物质的存在，挑战着观者的想象力潜力，既是艺术家的自我表现，也是对接受者参与创作本身的邀请。Alte Pinakothek收藏了约210幅油画，是意大利以外威尼斯文艺复兴时期最重要的油画收藏之一。这个跨学科项目的目的是通过最先进的技术方法和广泛的艺术史方法来审查这些作品。将使用技术成像和材料分析，结合全面的艺术史研究和讨论，对51幅有望取得特别重大成果的画作进行彻底调查。其余156件作品将通过基本技术检查和一般艺术史分类进行研究。通过将艺术史和技术视角整合到目录文章和总体文章中，该项目将有助于研究16世纪威尼斯人绘画，远远超出传统目录研究的范围。

The aim of the interdisciplinary research project is to explore the relation between the various artistic and technical factors that shaped the transformations in painting styles characteristic of 16th-century Venetian painting. The holdings of the Bavarian State Painting Collections, which historically have grown to offer representative insights into the painting of Renaissance Venice, provide an interdisciplinary team of art historians, restorers and scientists with the opportunity to trace the changing ways in which Venetian painters dealt with the materials of their work and the creative process itself. By combining art-historical examination with restauration expertise and scientific analyses, the project focuses on the following questions: Is there a technological equivalent for a brushstroke which, in art-historical terms, would be described as "swift" - and if so, how can its material quality be specified? Does an application of paint which is usually characterized as "open" necessarily involve modifications in priming, imprimitura and underdrawing? Did the change in brushwork generally increase the speed of the working process or did it, on the contrary, even slow it down precisely because of its openness to revision? Contemporary art theory celebrated the conscious display of technical bravura which conveyed the impression that the artist had brought forth his ideas with playful ease. Is the new mode of painting therefore an expression of growing artistic sovereignty and is it, consequently, particularly evident in the painters’ "late style"? Seemingly spontaneous works were aimed at a receptive public that understood the sensual value of an open, painterly style as part of the creative process and as a new form of expressiveness. Accordingly, the visible stroke of the brush, which with its material presence challenges the imaginative potential of the viewer, is to be discussed both as a self-representation of the artist and as an invitation for the recipient to participate in the act of creation itself. With a total of ca. 210 paintings, the Alte Pinakothek keeps one of the most important collections of Venetian Renaissance paintings outside Italy. The aim of the interdisciplinary project is to examine these works through state-of-the-art technological methods and a wide range of art-historical approaches. A selection of 51 paintings, which promise particularly significant results, will be thoroughly investigated using technical imaging and material analysis in combination with comprehensive art-historical research and discussion. The remaining 156 works will be made accessible for research through a basic technological examination and a general art-historical classification. By integrating art-historical and technological perspectives throughout catalogue articles and overarching essays, the project will contribute to the study of 16th-century Venetian painting far beyond the scope of traditional catalogue research.