Rubens' painting as inspiration of a later tapestry: non-invasive analyses provide insight into artworks’ history

The 17th century painting Madonna della Cesta by Rubens and its presumed textile reproduction created by Févère for the House of Medici were analysed in comparison. A number of non-invasive optical techniques were applied with the aim to identify similarities and differences between tapestry and pai...

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Autores principales:	Dal Fovo, Alice, Striová, Jana, Pampaloni, E., Fedele, Annamaria, Morita, María Mercedes, Díaz Amaya, Diana Marlén, Grazzi, Francesco, Cimò, Marta, Cirrincione, Claudia, Fontana, Raffaella
Formato:	Articulo
Lenguaje:	Inglés
Publicado:	2019
Materias:	Física Tapestry painting spectral correlation mapping Raman spectroscopy near infrared reflectography 3D analysis
Acceso en línea:	http://sedici.unlp.edu.ar/handle/10915/179571
Aporte de:	SEDICI (UNLP) de Universidad Nacional de La Plata

id	I19-R120-10915-179571
record_format	dspace
spelling	I19-R120-10915-1795712025-05-28T20:18:35Z http://sedici.unlp.edu.ar/handle/10915/179571 Rubens' painting as inspiration of a later tapestry: non-invasive analyses provide insight into artworks’ history Dal Fovo, Alice Striová, Jana Pampaloni, E. Fedele, Annamaria Morita, María Mercedes Díaz Amaya, Diana Marlén Grazzi, Francesco Cimò, Marta Cirrincione, Claudia Fontana, Raffaella 2019-11-28 2025-05-28T12:20:35Z en Física Tapestry painting spectral correlation mapping Raman spectroscopy near infrared reflectography 3D analysis The 17th century painting Madonna della Cesta by Rubens and its presumed textile reproduction created by Févère for the House of Medici were analysed in comparison. A number of non-invasive optical techniques were applied with the aim to identify similarities and differences between tapestry and painting, in order to shed light on a possible link between their respective authors. The use of a multi-analytical approach proved effective for the acquisition of iconographic, morphological, structural, and compositional information for a comprehensive characterization of the two artworks. While serving as relevant support for documentation and conservation purposes, data so obtained also provide evidence of the uncanny resemblance between the two artworks, and specifically suggest the use by Févère of the same large-scale preparatory drawing (carton) realized by Rubens for his oil painting. Laboratorio de Ablación Láser, Fotónica e Imágenes 3D Articulo Articulo http://creativecommons.org/licenses/by-nc-nd/4.0/ Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) application/pdf
institution	Universidad Nacional de La Plata
institution_str	I-19
repository_str	R-120
collection	SEDICI (UNLP)
language	Inglés
topic	Física Tapestry painting spectral correlation mapping Raman spectroscopy near infrared reflectography 3D analysis
spellingShingle	Física Tapestry painting spectral correlation mapping Raman spectroscopy near infrared reflectography 3D analysis Dal Fovo, Alice Striová, Jana Pampaloni, E. Fedele, Annamaria Morita, María Mercedes Díaz Amaya, Diana Marlén Grazzi, Francesco Cimò, Marta Cirrincione, Claudia Fontana, Raffaella Rubens' painting as inspiration of a later tapestry: non-invasive analyses provide insight into artworks’ history
topic_facet	Física Tapestry painting spectral correlation mapping Raman spectroscopy near infrared reflectography 3D analysis
description	The 17th century painting Madonna della Cesta by Rubens and its presumed textile reproduction created by Févère for the House of Medici were analysed in comparison. A number of non-invasive optical techniques were applied with the aim to identify similarities and differences between tapestry and painting, in order to shed light on a possible link between their respective authors. The use of a multi-analytical approach proved effective for the acquisition of iconographic, morphological, structural, and compositional information for a comprehensive characterization of the two artworks. While serving as relevant support for documentation and conservation purposes, data so obtained also provide evidence of the uncanny resemblance between the two artworks, and specifically suggest the use by Févère of the same large-scale preparatory drawing (carton) realized by Rubens for his oil painting.
format	Articulo Articulo
author	Dal Fovo, Alice Striová, Jana Pampaloni, E. Fedele, Annamaria Morita, María Mercedes Díaz Amaya, Diana Marlén Grazzi, Francesco Cimò, Marta Cirrincione, Claudia Fontana, Raffaella
author_facet	Dal Fovo, Alice Striová, Jana Pampaloni, E. Fedele, Annamaria Morita, María Mercedes Díaz Amaya, Diana Marlén Grazzi, Francesco Cimò, Marta Cirrincione, Claudia Fontana, Raffaella
author_sort	Dal Fovo, Alice
title	Rubens' painting as inspiration of a later tapestry: non-invasive analyses provide insight into artworks’ history
title_short	Rubens' painting as inspiration of a later tapestry: non-invasive analyses provide insight into artworks’ history
title_full	Rubens' painting as inspiration of a later tapestry: non-invasive analyses provide insight into artworks’ history
title_fullStr	Rubens' painting as inspiration of a later tapestry: non-invasive analyses provide insight into artworks’ history
title_full_unstemmed	Rubens' painting as inspiration of a later tapestry: non-invasive analyses provide insight into artworks’ history
title_sort	rubens' painting as inspiration of a later tapestry: non-invasive analyses provide insight into artworks’ history
publishDate	2019
url	http://sedici.unlp.edu.ar/handle/10915/179571
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Rubens' painting as inspiration of a later tapestry: non-invasive analyses provide insight into artworks’ history

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