Church Paintings of Gottfried
Hendtzschel in Norway -
Past & Future Conservation
Part I & II
By Tine Froysaker
210 pages, Illustrated, 8 ¼" x 11 ½"
$87.50 Paper Original
OUT OF PRINT
This is a Ph.D. dissertation. Prior to this study, no comparative analyses of painting techniques had yet been carried out in Norway on any major group of 17th century church paintings. Previous discussions on the attributions of paintings from this period have mainly been based on historical, stylistic and iconographic research. In addition, preservation strategies for conservation priorities with regard to Norwegian early post-reformation ecclesiastical art have still not been established.
The primary objects of this study are the 146 panel paintings that had already been attributed to the Silesian artist Gottfried Hendtzschel. During the second quarter of the 17th century, the artist worked in nearly 30 churches within the diocese of Stavanger, which lies in the south-western part of the country. This makes him one of the most productive domestic church painters of the century. The main questions addressed by this project are to define the characteristics of Hendtzschel's paintings, and to determine whether the artist actually made all the works ascribed to him. Further, to examine the painting process itself.
What can the present condition of the paintings - taking into account known past changes - tell us about their original appearance? Which paintings out to be given future conservation priority, and how to improve in situ recording of early post-Reformation church paintings in Norway? The ultimate objectives are to confirm or to endorse the previous attributions to Hendtzschel and to make a register of all his works worthy of further preservation; to substantiate a proposal for a conservation priority; and to evaluate the examination procedure used.
Goteborg Studies in Conservation, No. 10
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