Reference : A Case of Mistaken Identity: a Version of the Good Shepherd by Pieter Brueghel the Younger
Scientific congresses and symposiums : Unpublished conference/Abstract
Arts & humanities : Art & art history
A Case of Mistaken Identity: a Version of the Good Shepherd by Pieter Brueghel the Younger
Allart, Dominique mailto [Université de Liège - ULiège > > Histoire de l'art et archéologie des temps modernes >]
Currie, Christina [KIk-IRPA Brussels > > > >]
Fraiture, Pascale [KIK-IRPA Brussels > > > >]
Saverwyns, Steven [KIK-IRPA Brussels > > > >]
Symposium XIX for the Study of Underdrawing and Technology in Painting : Technical Studies of Paintings: Problems of Attribution (15th-17th Century),
11-13 September 2014
Université catholique de Louvain, Laboratoire d'étude des œuvres d'art par les méthodes scientifiques (Musée de Louvain-la-Neuve), Flemish Research Centre for the Arts in the Burgundian Netherlands of the Groeningemuseum (Musea Brugge)
[en] Bruegel, Pieter the Elder ; Pieter Brueghel the Younger, Good Shepherd ; dendrochronology
[en] An unsigned version of the Good Shepherd in the Kronacker collection has been variously attributed to members of the Bruegel dynasty over the years, and was most recently offered for sale at auction as a painting by Jan Brueghel the Younger (1601-1678). The painting was examined at the KIK-IRPA in order to reconsider its attribution. Following usual protocol, the painting was subjected to a detailed scientific investigation, comprising examination with the binocular microscope, infrared reflectography, X-radiography, tracing, and dendrochronology. In addition, Raman spectoscopy was carried out on the underdrawing, without sampling.
The photographs, scientific imagery and analytical results were compared with those of a signed version of the same composition by Pieter Brueghel the Younger in the Royal Museums of Fine Arts of Belgium and another version in a private collection. The conclusion drawn as regards the attribution of the Kronacker version was unambiguous. The study highlights the danger of relying on past opinion in matters of attribution, much of which is based on photographs of the work in question.
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