Auf Spurensuche im DomQuartier
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och bis November im DomQuartier bei der Sonderausstellung „Ultramarin
und Muschelgold – Wie die Bilder gemacht wurden“ auf spannende S
purensuche in Gemälden begeben. Und dabei auch das seltene weil teure e
chte Ultramarinblau betrachten.
Ein Kilo Ultramarin kostet 15.000 Euro, des
halb verwendeten es die Künstler nur für kleine, besondere Stellen
im Gemälde. Louis Licherie de Beuron malte damit beim Gemälde &bd
quo;Flucht nach Ägypten“ den Mantel der Gottesmutter. Auch Musche
lgold war den wichtigen Bereichen des Gemäldes vorbehalten. Nimbus, Him
melskrone und die Locken der Madonna lässt Kaspar Memberger im Kunstwer
k „Maria mit Kind“ – eine Auftragsarbeit für Wolf Die
trich – golden leuchten.
<b>Übermalte Stellen treten zum V
orschein</b>
Das Muschelgold ist Symbol für das göttliche Licht.
Benannt wurde dieser Farbstoff nach dem Behälter: Gebrauchsfertiges Gol
dpulver wurde in Miesmuscheln eingestrichen. Den Anteil des kostbaren Farbst
offes regelte man vertraglich. Faszinierend ist es, in den Gemälde
n aus dem 16. bis 19. Jahrhundert „Reuezüge“ der Maler zu s
uchen. Es sind Korrekturen oder Änderungen noch während der Arbeit
. „Wir haben Kunstwerke gewählt, bei denen die Werkspuren deutlic
h und mit freiem Auge sichtbar sind“, erklärt Kuratorin Erika Oeh
ring. Genau ansehen sollte man sich etwa Aelbert Cuyps Gemälde „W
eide mit Kühen und Hirten“ oder das „Stillleben mit Austern
, Zitronen und Trauben“ von Cornelis de Heem. Die Zeit bzw. der Alteru
ngsprozess lässt die übermalten Stellen durchscheinen.
<b>TIPP:</
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<b>Fo
to1:</b> Ultramarinblau wurde für den Mantel der Gottesmutter verw
endet, erklärt Kura...' (2168 chars)
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SALZBURG (eds/jup-23.8.2018) / Kinder und Erwachsene können sich noch bis November im DomQuartier bei der Sonderausstellung „Ultramarin und Muschelgold – Wie die Bilder gemacht wurden“ auf spannende Spurensuche in Gemälden begeben. Und dabei auch das seltene weil teure echte Ultramarinblau betrachten.
Ein Kilo Ultramarin kostet 15.000 Euro, deshalb verwendeten es die Künstler nur für kleine, besondere Stellen im Gemälde. Louis Licherie de Beuron malte damit beim Gemälde „Flucht nach Ägypten“ den Mantel der Gottesmutter. Auch Muschelgold war den wichtigen Bereichen des Gemäldes vorbehalten. Nimbus, Himmelskrone und die Locken der Madonna lässt Kaspar Memberger im Kunstwerk „Maria mit Kind“ – eine Auftragsarbeit für Wolf Dietrich – golden leuchten.
Übermalte Stellen treten zum Vorschein
Das Muschelgold ist Symbol für das göttliche Licht. Benannt wurde dieser Farbstoff nach dem Behälter: Gebrauchsfertiges Goldpulver wurde in Miesmuscheln eingestrichen. Den Anteil des kostbaren Farbstoffes regelte man vertraglich. Faszinierend ist es, in den Gemälden aus dem 16. bis 19. Jahrhundert „Reuezüge“ der Maler zu suchen. Es sind Korrekturen oder Änderungen noch während der Arbeit. „Wir haben Kunstwerke gewählt, bei denen die Werkspuren deutlich und mit freiem Auge sichtbar sind“, erklärt Kuratorin Erika Oehring. Genau ansehen sollte man sich etwa Aelbert Cuyps Gemälde „Weide mit Kühen und Hirten“ oder das „Stillleben mit Austern, Zitronen und Trauben“ von Cornelis de Heem. Die Zeit bzw. der Alterungsprozess lässt die übermalten Stellen durchscheinen.
TIPP: Die Ausstellung ist noch bis 26. November im DomQuartier zu sehen.
Foto1: Ultramarinblau wurde für den Mantel der Gottesmutter verwendet, erklärt Kuratorin Erika Oehring.
Foto2: Muschelgold ist bei Membergers „Maria mit Kind“ zu sehen.
Fotos: Erzdiözese Salzburg, DomQuartier
