{"title":"The Wooden Panel of The Wedding Dance","authors":"Ellen Hanspach-Bernal","doi":"10.1086/707424","DOIUrl":null,"url":null,"abstract":"Bruegel painted e Wedding Dance on an oak panel. is panel is an important component of the painting because it provided the smooth support for his remarkably thin ground and paint layers. e specific oak timber used to build the panel traveled from the Baltic ports to Antwerp via the trading routes of the Hanseatic League—a confederation of merchant guilds and market towns in northern Europe—before it was delivered to Bruegel’s studio as a panel.28 is wood panel tells us not only about an artist who was able to access materials of the highest quality, but also about the history of the powerful merchant city of Antwerp and about trade and organized labor during the mid-sixteenth century. Although the wooden panel has been altered over the centuries, it remains a repository of important information. Many of the manufacturing marks and assembly techniques are clearly consistent with those found on Bruegel’s other panels, and they show the practices of the workshop that made these panels. Recent wood analysis and dating of the various wooden planks has placed the panel even more thoroughly within Bruegel’s oeuvre, drawing more specific connections to his other panels.29 A thorough examination of the wooden panel, however, reveals that the top section of e Wedding Dance is a later addition by someone other than Bruegel—an assessment that significantly alters our understanding of the artist’s compositional intentions. Because its condition and colors are dierent from those of the rest of the painting, the top section has been under scrutiny since at least the restorer William Suhr’s 1942 report. Yet ultimately it was the logic of the panel itself that led us to speculate that this section was not just a later repair, but in fact a complete invention. is hypothesis has now been confirmed both by wood analysis and by a comparison of the painting with a copy in the collection of the Gemäldegalerie in Berlin: Wedding Dance in the Open (plate 7). O A K : A J O U R N E Y F R O M T H E B A LT I C T O A N T W E R P","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707424","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Bulletin of the Detroit Institute of Arts","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/707424","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
Abstract
Bruegel painted e Wedding Dance on an oak panel. is panel is an important component of the painting because it provided the smooth support for his remarkably thin ground and paint layers. e specific oak timber used to build the panel traveled from the Baltic ports to Antwerp via the trading routes of the Hanseatic League—a confederation of merchant guilds and market towns in northern Europe—before it was delivered to Bruegel’s studio as a panel.28 is wood panel tells us not only about an artist who was able to access materials of the highest quality, but also about the history of the powerful merchant city of Antwerp and about trade and organized labor during the mid-sixteenth century. Although the wooden panel has been altered over the centuries, it remains a repository of important information. Many of the manufacturing marks and assembly techniques are clearly consistent with those found on Bruegel’s other panels, and they show the practices of the workshop that made these panels. Recent wood analysis and dating of the various wooden planks has placed the panel even more thoroughly within Bruegel’s oeuvre, drawing more specific connections to his other panels.29 A thorough examination of the wooden panel, however, reveals that the top section of e Wedding Dance is a later addition by someone other than Bruegel—an assessment that significantly alters our understanding of the artist’s compositional intentions. Because its condition and colors are dierent from those of the rest of the painting, the top section has been under scrutiny since at least the restorer William Suhr’s 1942 report. Yet ultimately it was the logic of the panel itself that led us to speculate that this section was not just a later repair, but in fact a complete invention. is hypothesis has now been confirmed both by wood analysis and by a comparison of the painting with a copy in the collection of the Gemäldegalerie in Berlin: Wedding Dance in the Open (plate 7). O A K : A J O U R N E Y F R O M T H E B A LT I C T O A N T W E R P
勃鲁盖尔在橡木镶板上画了《婚礼之舞》。他的面板是这幅画的重要组成部分,因为它为他非常薄的地面和油漆层提供了平滑的支撑。用于建造面板的特定橡木木材从波罗的海港口通过汉萨同盟的贸易路线运送到安特卫普,汉萨同盟是北欧商人协会和集镇的联盟,然后作为面板交付给勃鲁盖尔的工作室。28号木板不仅向我们讲述了一位能够获得最高质量材料的艺术家,还讲述了强大的商业城市安特卫普的历史,以及16世纪中期的贸易和有组织的劳工。虽然木板经过几个世纪的改变,但它仍然是重要信息的储存库。许多制造标记和组装技术与勃鲁盖尔其他镶板上的明显一致,它们显示了制作这些镶板的车间的做法。29 .最近对各种木板的木材分析和年代测定表明,这块木板更彻底地属于勃鲁盖尔的作品,与他的其他木板有更具体的联系然而,对木板的彻底检查表明,《婚礼之舞》的顶部部分是后来由布鲁盖尔以外的人添加的,这一评估大大改变了我们对艺术家创作意图的理解。由于它的状态和颜色与这幅画的其他部分完全不同,至少从修复者威廉·苏尔(William Suhr) 1942年的报告开始,它的顶部部分就一直受到仔细的审查。然而,最终是面板本身的逻辑让我们推测,这部分不仅仅是后来的修复,实际上是一个完整的发明。他的假设现在已经被木材分析和与柏林Gemäldegalerie收藏的复制品的比较所证实:开放的婚礼舞蹈(第七版)。O a K: a J U R N E Y F R O M T H B a LT I T O a N T W E R P