{"id":2975,"date":"2023-10-17T15:40:55","date_gmt":"2023-10-17T13:40:55","guid":{"rendered":"https:\/\/us.edu.pl\/idb\/?p=2975"},"modified":"2024-12-02T12:37:48","modified_gmt":"2024-12-02T11:37:48","slug":"swoboda-badan-zapomniany-malarz-epoki-renesansu","status":"publish","type":"post","link":"https:\/\/us.edu.pl\/idb\/en\/swoboda-badan-zapomniany-malarz-epoki-renesansu\/","title":{"rendered":"Freedom of research | Forgotten painter of the Renaissance"},"content":{"rendered":"

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RESEARCH EXCELLENCE INITIATIVE<\/span><\/small><\/strong><\/p>\n

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FREEDOM OF RESEARCH \u2013 SCIENCE FOR THE FUTURE<\/span><\/small><\/strong><\/p>\n

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\u201cFreedom of Research \u2013 Science for the Future\u201d series consists of articles, interviews and short videos presenting research conducted by the winners of the \u201cFreedom of Research\u201d call for proposals<\/p>\n

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Oskar Rojewski, PhD<\/strong><\/p>\n

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Forgotten painter of the Renaissance<\/h3>\n

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| Katarzyna Sucha\u0144ska |<\/span><\/p>\n

Court painter is a role that seemingly needs no further explanation. Every king or queen took care of their image, not only in comparison to other rulers, but also on canvas. The painter Michel Sittow was one of those artists who participated in the royal lives of Isabella of Castile, Catherine of Aragon, Henry VII, and Philip I of Habsburg. But how respected were the master painters of the 15th and 16th centuries?<\/strong><\/p>\n

\u2018They were highly respected,\u2019 answers Oskar Rojewski, PhD, an assistant professor at the Faculty of Humanities at the University of Silesia, who is delving into the life of Michel Sittow and the phenomenon of courtly life as part of the \u2018Research Freedom\u2019 competition of the Research Excellence Initiative.<\/p>\n

Michel Sittow was a painter from Reval (now Tallinn in Estonia), a student of the eminent artist Hans Memling, whose work \u2018The Last Judgment\u2019 is housed in the National Museum in Gda\u0144sk. Sittow is a very intriguing personality, not well recognised in the history of Netherlandish painting. One of the reasons for his lack of popularity in our times is that his works were described among anonymous masters. It was known that such an artistic identity existed, but no one knew how to call it. It wasn’t until Max Friedl\u00e4nder, the most important scholar of 20th-century Netherlandish painting, connected the works of Michel Sittow, described his style, and named him Master Michel, later identified as Sittow.<\/p>\n

\u2018The figure of Michel Sittow is fascinating not only because of his life but also due to the mystery surrounding him,\u2019 says Oskar Rojewski, PhD. \u2018The research I am currently conducting aims to shed light on the artist’s activities in Northern Europe after 1506. This year was marked as extremely significant in European history, as it saw the death of Philip I the Handsome, the first representative of the Habsburg dynasty in Spain. Sources suggest that Michel Sittow was most likely at the royal court at that time. Here, our knowledge of his subsequent fate ends. We have not yet found sources indicating where Sittow went or what activities he pursued after the death of his patron. My goal is to find documents that will tell us something about this.\u2019<\/p>\n

At the turn of the 15th and 16th centuries, the role of a court painter looked very different from what it might seem. The researcher from the University of Silesia explains that the artist was responsible for the entire workshop he owned, from paints and tools to a group of students and their skills. \u2018In fact, the court painter did not paint portraits himself \u2013 most of the tasks were performed by apprentices, while he only oversaw the supplies and supervised their work\u2019 the scholar adds.<\/p>\n

Among Michel\u2019s most important works that we can admire today are: the Diptych of Diego de Guevara<\/em>, divided between the Gem\u00e4ldegalerie and the National Gallery of Art in Washington, and the Assumption<\/em>, also in Washington. The artist\u2019s paintings can also be admired in the Metropolitan Museum of Art in New York, the Kunsthistorisches Museum in Vienna, and the Luna family’s chapel in Toledo Cathedral.<\/p>\n

Due to the late recognition of Sittow by art historians, his name does not appear in monographic studies on artistic or aesthetic history. It is known that he lived at the turn of the medieval and modern periods (circa 1469\u20131525). Analysing his paintings, one can see both motifs appropriate for 15th-century painting and his attempts to introduce new techniques, such as linear perspective, naturalistic landscapes, and depictions of human likenesses that prompt viewers to reflect on the emotional state of the portrayed person.<\/p>\n

The specialist from the University of Silesia argues that the artist\u2019s brush was guided by both the spirit of the time and the demands of the era.\u00a0 \u2018The works \u2018on commission\u2019 were dictated by pragmatism \u2013 the need to produce portraits of European monarchs to send to family members of future marriage candidates.<\/p>\n

Nevertheless, religious works\u2014depictions of the lives of Christ and Mary\u2014dominated Sittow’s painting. Sittow worked on the creation of Isabella of Castile’s Polyptych, consisting of forty-seven small panels. This impressive collection most likely formed an altar created for Queen Isabella of Castile. The monarch could compose her own altar from the resulting paintings depending on the liturgical period, the saint’s feast day, or her own preferences. Sources tell us that the polyptych panels did not come directly from Sittow’s hand but were the result of the work of several artists. Unfortunately, only twenty-seven panels have survived to this day. Fifteen of them belong to the Royal Collections Museum in Madrid, and the remaining twelve are in various other museums around the world,\u2019 says Oskar Rojewski, PhD.<\/p>\n<\/div>\r\n <\/div>\r\n <\/div>[vc_separator] \r\n

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