CC BY
5E. Lavrentyeva
ON THE DATING OF ONE NEVYANSK ICON FROM THE COLLECTION OF THE CHELYABINSK STATE MUSEUM OF FINE ARTS
The article presents the main results of a technical and technological analysis of the early Nevyansk icon, The Mother of God of Vladimir, from the collection of the Chelyabinsk State Museum of Fine Arts, which we carried out in 2020. These results proved the icon's dating to the first half of the 18th century that had been previously proposed by the historian E. Roizman. When studying the art work under a stereoscopic microscope at 28x magnification, we managed to learn the stylistic mode of so-called lichnóe (painting of exposed body parts) and dolíchnoe (painting of clothing), as well as the painting stratigraphy. The article gives a detailed description of the state of preservation of the original painting, and presents the results of modern museum restoration. Also, the traces of the Old Believers renovation are revealed. In the result of our research we confirmed that The Mother of God of Vladimir was painted at the same time and in the same Old Believers workshop as another Nevyansk icon, The Mother of God of Egypt, (1734), which is hold in the Nevyansk Icon Museum in Ekaterinburg. We also made the expertise on that icon earlier, and our conclusion is based on the fact that both icons have almost identical lichnóe. The first modeling, executed with white lead, was put directly on the sankir. Then, it was completely covered with yellow ochre layer. The "construction" of the face shape was completed with white modeling. Thus, we observe alternating layers of pure white and ochre. Due to densely-applied white layers, the lichnoe modeling of the both icons gets relief, almost sculptural and tactile. Besides, other features are indisputable and confirm the simultaneous creation of the both icons in the same workshop: the set of pigments (synthetic azurite, cinnabar, white lead, red organic, red lead, ochres); the preparation of the same paint mixtures for dolichnoe; one prime composition (anhydrite); and identical processing of the wooden panels.
Keywords: icon-painting of Old-Believers, fine arts of the Urals, attribution of icons, pigments of icon-painting, technical and technological analysis of tempera paintings.
Е.В. Лаврентьева
К ВОПРОСУ О ДАТИРОВКЕ ОДНОЙ НЕВЬЯНСКОЙ ИКОНЫ ИЗ СОБРАНИЯ ЧЕЛЯБИНСКОГО ГОСУДАРСТВЕННОГО МУЗЕЯ
ИЗОБРАЗИТЕЛЬНЫХ ИСКУССТВ
В статье изложены результаты технико-технологического анализа невьянской иконы «Богоматерь Владимирская» из Челябинского государственного музея изобразительных искусств, на основании которых удалось подтвердить предложенную ранее историком Е. Ройзманом датировку иконы первой половиной XVIII в. В ходе исследования установлено, что «Богоматерь Владимирская» была написана в то же время и в той же старообрядческой мастерской горнозаводского Урала, что и «Богоматерь Египетская» 1734 г. (Музей «Невьянская икона», г. Екатеринбург), экспертиза которой была проведена нами ранее. В первую очередь об этом свидетельствует почти идентично исполненное личное письмо (прием чередования слоев белил и охрений при построении карнации). В обоих случаях непосредственно по санкирю свинцовыми белилами наносилась первая живописная моделировка, которая впоследствии перекрывалась желтым охрением. Объем завершался второй белильной моделировкой. За счёт густо наплавленных белил лепка личного на обеих иконах рельефна, почти скульптурна, ощутима тактильно. Другие технологические особенности также подтверждают единовременность создания обеих икон и их принадлежность к одной мастерской: 1. «набор» пигментов (искусственный азурит, киноварь, свинцовые белила, красная органика, свинцовый сурик, охры), 2. применение одинаковых красочных смесей для написания доличного, 3. состав грунта (ангидрит), 4. идентичная обработка деревянной основы и проч.
Ключевые слова: старообрядческая иконопись, изобразительное искусство Урала, атрибуция икон, пигменты иконописи, технико-технологический анализ произведений темперной живописи.
The Chelyabinsk State Museum of Fine Arts contains a small remarkable icon, The Mother of God of Vladimir (fig. 1), (inventory # ^ - 1142), which was initially attributed to the early period of the Nevyansk School and dated to the first half of the 18th century by the collector and historian Evgeny V. Roizman1. According to his data, it was found in Nizhny Tagil. Visually, in terms of stylistic and technological features, The Mother of God of Vladimir can confidently be placed on par with Nevyansk Old Believers icons of the first half of the 18th century.
There are few such masterpieces in Russian state museums2. Most such art works are in private collections in the Urals Mountains Region. The most broad and accessible for study is the collection of the NIM (Nevyansk icon museum). Today, only one early icon with exact dating is known - it is The Mother of God of Egypt, 1734 (fig. 2) (NIM, inventory # HI/I 18/7). Scientific expertise was conducted on the icon in April 20193.
This is a sort of starting point for the study of the very characteristic "stylistically identical" original first masterpieces of the industrial Urals Region. Visually, they can't be confused with any other Russian icon-painting center of that time. Having studied the material and structural complex of the icon, Our Lady of Vladimir, from the Chelyabinsk Museum4, we discovered a number of technological features specific to the icon of 1734 that had been studied earlier The technique and mode of execution also turned out to
be almost identical. Thus, we can reasonably assert that the period of their creation was similar and that they belong to one and the same workshop5.
Fig. 2.
Mother of God of Egypt. 1734.
Nevyansk Icon Museum, (Ekaterinburg)
A characteristic feature of all Nevyansk icons is a very high-quality processing of their wooden panels. The Chelyabinsk icon has a size of 21,2x17,8x2,6 cm. As in the case of The Mother of God of Egypt, its wooden panel consists of one board and has a very slight warping (the warping height doesn't exceed 1.5 mm). Rectangular wooden sunk keys are set straight through into its bottom side and top side. The reverse and all sides are carefully processed with a plane.
Before taking a look at The Mother of God of Vladimir technological features, let us describe the state of its preservation. In 2012, an official museum conservation of the icon was carried out by Maxim and Mikhail Ratkovsky. In the course of their work, the darkened varnish coating on its surface and the layer of over-painting on its original blue edges (so-called opush) were removed. Also, the worn places of the paint layer were toned, and the icon was varnished anew6. We have photographs of the icon before that conservation as well as those of its process. In the photograph "in process", we see the state of preservation after the varnish was removed but still before the completion of areas that had paint losses (fig. 3, 4). Thus, we can estimate the percentage of the original art work that remains.
Fig. 3.
Mother of God of Vladimir. Restoration "in process"
The conservators carried out minor delicate toning treatment of areas with paint Losses and worn spaces on the body's exposed parts Uichnoe). The face of the Infant Christ has conservation work on the upper eyelids, above the eyebrows, on the cheeks under the eyes and on the right cheek below, on the chin, on the tip of the nose and right nostril, on the Lower Lip, as well as small tone improvements made on the hair On the face of the Mother of God, several areas of paint losses are toned on the left cheek, on the upper and lower eyelids, above the right eyebrow, on the whites of the eyes, in the space between the nose and lips, on the lower lip, on the tip of the nose and left nostril, and on the chin. On the hands of the Mother of God and the Child and on His feet, there are a few point tone improvements. The most significant losses of the paint layer were on the clothes of the Mother of God: along the contour of the maphorion and along its border, and on the cuff. There are small tone improvements on the Christ's clothes, the background, the halos, luzga7, and the icon's blue edges (opush). Also, the monograms of Christ and the Mother of God, and His cruciform halo were partially conserved.
When examining the painting under a binocular stereoscopic microscope at 28x magnification, it was clear that it had been restored at one point before the modern conservation8. The background and halos of the Mother of God and the Child had been
re-gilded. Gold leaf was applied in the form of small patches to cover the worn spaces of the original dvoynik9. Currently, we can see that the icon was heavily worn in certain places originally covered with dvoynik, and later they were conserved by adding patches of gold leaf (this later gold leaf is well preserved, for example, in the upper right part of the background). At the same time, the worn initials of the Mother of God and the Child, the letters in His cruciform halo, were partially reconstructed on those worn areas.
Fig. 4.
Mother of God of Vladimir.
The fragment of the icon. Restoration "in process"
With the help of the aforementioned magnification, we can distinguish the "new" color (added in the second half of the i8th/early 19th century) in those places where it covered the worn areas of the original letters. Its composition has large particles of red pigment. The author's letters are written in high-dispersed cinnabar So the "O" in the cruciform halo turned out to be almost completely "reconstructed", it lies on a "patch" of gold leaf since the titlo is original (fig. 5). The letters "IC XC" and "MP" are a little bit over-painted, and the "©Y" are over-painted almost entirely. The Christ's halo is partially reconstructed. There are also some new glazes with red organic pigment on the outline of His halo (over the gold leaf). At the same time, the original luzga was over-painted in the red-brown color. Its over-painting was left by modern conservators due to the poor preservation of the original paint layer. Original luzga fragments, with preserved white trefoils, were found in the lower left and upper right corners. In the lower right corner, on a shabby trefoil (over the original decorative element), we noticed a fragment of a gold leaf measuring about 1x1 mm, which immediately drew our attention to the presence of later interventions on the background and halos. The icon's opush was also over-painted. In a photograph taken before the 2012 restoration, it is double, blue and red.
Thus, The Mother of God of Vladimir has come down to us in a good state of preservation. Thanks to the excellent modern museum conservation and good Old Believer "renovation", now, we can certainly imagine its original appearance.
Fig. 5.
Mother of God of Vladimir.
The fragment of Christ's halo:
1 - original dvoynik;
2 - original titlo;
3 - gilding of the 2nd half of the 18th - beginning of the 19th century;
4 - letter reconstruction of the same period
of time;
5 - modern reconstruction
This icon is painted on a glue prime, the filler of which, as in the case of The Mother of God of Egypt, is anhydrite, anhydrous gypsum (CaSO4)10. The prime is dense, about 1 mm thick. In side lighting, a preparatory scratched outline, made with a sharp, thin object can be easily noticed. In small areas of loss along the edge of the lower field, a medium-grained canvas of plain weave is visible. The painting manner and technique of the Chelyabinsk Museum icon and The Mother of God of Egypt from the Ekaterinburg collection are rather similar, with minor differences. Both have almost identical lichnoe (exposed body areas) and dolichnoe (the painting of clothes). The same pigments and their mixtures are used. In both cases, the main pink tone of the Christ's clothes (himation in The Mother of God of Egypt, and chiton in The Mother of God of Vladimir) is a mixture of cinnabar with white lead; while the shading is painted with red organic pigment, and the fold lines - with red-brown high-dispersed paint that includes red ochre.
On the Chelyabinsk icon, the maphorion of the Virgin is painted with red ochre with some admixture of calcite. The lines of the folds are painted with black paint, the shading with a brown color that also includes red ocher (on the icon of 1734 the shades on the maphorion are painted with red organic pigment). The ornaments along the border of Her maphorion and the "stars of the Mother of God Everlasting Virginity" are made with white lead with some admixture of calcite. Synthetic azurite was used in the blue clothes (the cap of the Mother of God and the sleeve of Her tunic, the belt of Christ). The lines of the folds on the blue clothes are made with a brown paint that includes red ochre. The so-called "highlights" or "hatching" of the maphorion were painted with powdered gold (see tab. 1), (in the icon of 1734 it was made with powdered dvoynik (tab. 4). The hatching on the Christ's clothes was executed with gold leaf (tab. 2) (before gilding, it was marked with red-orange paint, composed of yellow ochre, cinnabar and white lead). There is no doubt that the hatching on the Christ's clothes is original. With high microscopic magnification on the borders of His hiton and lichnoe, the original sankir in some places is seen laying over the previously set golden hatching. This is a proof of the latter's authenticity (lichnoe in icons was always made after the dolichnoe). Thin highlights on the Virgin's blue sleeve were painted with powdered silver (tab. 3). The border of Her maphorion and cuff were covered with dvoynik and ornamented with blue and red stones and pearls.
Table 1. Examination of the sample of the "hatching" of Virgin's maphorion (The Mother of God of Vladimir): a). The elemental composition (in weight %) of the sample; b). SEM (scanning electron
microscope) image
Spectrum 123 Spectrum 125
Al 0.47 0.45
Si 1.23
S 1.78
Cl 0.44
Ca 1.76 0.53
Fe 1.02 0.42
Cu 1.39 1.33
Ag 6.11 326
Au 85.80 9400
Total 100.00 100.00
"lOyiii
a)
b)
Table 2. Examination of the sample of the "hatching" of Christ's clothes (The Mother of God of Vladimir): a). The elemental composition (in weight %) of the sample; b). SEM (scanning electron microscope)
image
At.
i- • » \
Ji
Spectrum 117
Cu 1.40
Au 9539
Pb 321
Total 100.00
a)
V^tm
b)
The icon's fields were in light ochre. The author's opush was double: the blue outline is well preserved (synthetic azurite, white lead, calcite), while the orange one is almost completely lost (presumably made with red lead, no chemical analysis was carried out). The original luzga color consists of red ochre with some admixture of calcite. Its inner outline was executed with white lead; the outer outline and outer trefoils were made with black paint.
The lichnoe's technique is very characteristic. The sankir is dense and light. It contains yellow ochre with kaolin, red organic pigment, a little bit of red ochre, white lead and carbon black. On some parts of the lichnoe, we can see the sequence of paint layers when modeling the shape. In the micro paint losses on the Virgin's left hand (on the border of the hand and cuff), it is clearly seen that the first layer of paint (white lead) lies directly on the sankir. The layer of yellow ochre overlapped the white modeling. The final
layer of white paint lies over yellow ochre. The same sequence of paint layers is visible in another area - at the inner corner of the Virgin's left eye (fig. 10). An identical stratigraphy of the painting is also visible on smaller details of exposed body parts; for example, fingers (the Virgin's left thumb) or ears.
Table 3. Examination of the sample of the "hatching" of Virgin's blue sleeve (The Mother of God of Vladimir): a). The elemental composition (in weight %) of the sample; b). SEM (scanning electron
microscope) image
Spectrum 258 Spectrum 263
Al 0.66
Si 0.47 0.51
S 1.07
Cl 14.65 7.49
K 1.ЗЗ
Ca 1.66 1.79
Cu 1.09 304
Ag 7460 79.21
Pb 514 7.29
Total 100.00 100.00
V ' '258
X < - v.
/ - i . . -мг . * A,
■ ■ *v *** V-/i » . ' *
* <' "jtai*
At -« J J'* *
a)
b)
Table 4. Examination of the sample of the "hatching" of Virgin's maphorion (The Mother of God of Egypt): a). The elemental composition (in weight %) of the sample; b). SEM (scanning electron microscope)
image
Spectrum 1 Spectrum 2
Al 0.85 1.32
Cl 1.58 0.74
Ca 0.57
Ag 20.16 85.90
Au 77.41 11.46
Total 100.00 100.00
a)
J
b)
With the help of visual research under a microscope, we are able to declare that the technique of lichnoe and its stratigraphy in The Mother of God of Vladimir icon is very similar to the technique of lichnoe in the 1734 icon (fig. 11), which we described in detail in our article already mentioned here, although with some minor differences. The white modeling in the Chelyabinsk icon is not so wide, its area is smaller. On the Virgin's left cheek, at the point of transition from sankir to highlights, the thin glazing brush strokes of the final white layer of the modeling are clearly visible; they follow the shape of the face. The Mother of God of Egypt, in contrast to The Mother of God of Vladimir, has peculiar white highlights (so-called dvizhki11) under the eyes. Also, on the left cheeks of the Moth-
er of God and the Child, the layer of yellow ochre is barely covered with the final white modeling, which creates the effect of a smooth transition to sankir. In the both icons, an almost sculptural relief of the lichnoe surface is tactilely felt. This relief is created with thick layers of liquid white paint (fig. 6, 7). There is no flush on the faces. The contour of lichnoe is executed with red ochre. Metallic pigment is used for Christ's hair12. The upper lips of the Virgin and Christ are depicted with a cinnabar line (fig. 8, 9).
Fig. 6.
Mother of God of Vladimir.
The fragment of Christ's face. Macro - photograph
Fig. 7.
Mother of God of Egypt.
The fragment of Christ's face. Macro - photograph
Summing up our research: all early Nevyansk icons of this workshop have one and the same peculiar technique in lichnoe - alternating layers of pure white paint and yellow ochre (sometimes yellow ochre with some admixture of white lead) for the face modeling. This principle of "constructing" carnations is always seen in the so-called "the first workshop" icons13.
Fig. 8.
Mother of God of Vladimir.
The fragment of Virgin's face. Macro - photograph
Fig. 9.
Mother of God of Egypt.
The fragment of Virgin's face. Macro - photograph
In addition, these icons are marked with such technological features as a modest set of the same pigments used in the dolichnoe depiction (synthetic azurite, cinnabar, red ochre, yellow ochre, red organic pigment, white lead, and red lead, both in pure form and in various combinations); texture and density of painting (deliberate sculptural volume, relief); the use of dvoynik to cover the background, halos and parts of clothes; the use of either dvoynik or silver or gold for clothes' "hatching" or "highlights"; light ochre fields with double opush (blue was painted most often with synthetic azurite or glauconite with some admixture of white lead, the second red line was made with red lead); gypsum prime (often anhydrite is the filler).
Thus, the revealed features of the art work studied here show that it is on par with the very first icon-painting works by Old Believers in the Urals Mountains industrial Region.
Fig. 10.
Mother of God of Vladimir.
The fragment of Virgin's face. Painting stratigraphy:
1 - sankir;
2 - Layer of white paint;
3 - Layer of yeLLow ocher;
4 - Layer of white paint. Micro - photograph
Fig. 11.
Mother of God of Egypt.
The fragment of Virgin's neck. Painting stratigraphy:
1 - sankir;
2 - Layer of white paint;
3 - Layer of yeLLow ocher;
4 - Layer of white paint. Micro - photograph
Notes
1. When the icon entered the museum collection in 1984, it was dated to the 19th century. It was also assigned to this period in the 2003 catalog, where it was first published (Panteleeva G.I. Pamyatniki Drevney Rusi iz sobraniya Chelyabinskoy oblastnoy kartinnoy galerei. Ikonopis'. [Monuments of Ancient Russia from the collection of the Chelyabinsk Regional Art Gallery. Icon-painting]. Chelyabinsk: Chelyabinskaya oblastnaya kartinnaya galereya, Publ., 2003. P. 110. /In Russian/). But as early as in the album of the Nevyansk Icon Museum 2014, the icon is dated to the first half of the 18th century (Nev'yanskaya ikona nachala - serediny XVIII veka: al'bom [Nevyansk icon of the early to mid-18th century], authors-compilers E.V. Royzman, M.V. Ratkovskiy, V.I. Baydin. Ekaterinburg, Izdatel'stvo Muzeya "Nev'yanskaya ikona" Publ., 2014. P. 48. /In Russian/).
2. At least three more early Nevyansk icons are kept in the Nizhniy Tagil Museum Reserve "Gornozavodskoy Ural": Our Lady Odigitria (Inventory # TM-20338 / I/I-309), Nikolay the Wonderworker (Inventory # HB-16993), Nikolay the Wonderworker (Inventory
# TM-17984).
3. Lavrent'eva E.V. Bogomater' Egipetskaya 1734 g.: tekhniko-tekhnologicheskie osobennosti samoy ranney datirovannoy nev'yanskoy ikony [The Mother of God of Egypt of 1734: Technological features of the earliest dated Nevyansk icon] // Vestnik slavyanskikh kul'tur. No 57. 2020. P. 232-245. /In Russian/).
4. The author is grateful to the Chelyabinsk State Museum of Fine Arts, especially to the Deputy Director on the Research Work, Yuliya L. Alferova, for the opportunity to study this piece of art and for all necessary assistance that made this research possible.
5. The chemical analysis of the prime and paints pigments of the icon Our Lady of Vladimir was carried out by Irina F. Kadikova, Head of the Laboratory of Physical and Chemical Research, the State Research Institute for Restoration. In the course of studying the painting technology, the following methods were used: polarizing microscopy (POLAM L-213 M, LOMO), Scanning electron microscope (MIRA 3 LMU, Tescan) with energy-dispersive X-ray spectroscopy (Oxford Instruments Nanoanalysis) (SEM-EDX), micro-Fourier transform infrared (m-FTIR) spectroscopy (LUMOS, Bruker).
6. Spasti i sokhranit'. Muzeynaya restavratsiya 2009-2019: metodiki i rezul'taty. Tempernaya, maslyanaya zhivopis' i dekorativno-prikladnoe iskusstvo XVII -pervoy poloviny XX veka iz sobraniya Chelyabinskogo gosudarstvennogo muzeya izobrazitel'nykh iskusstv: al'bom-katalog [Save and Preserve. Museum restoration 2009-2019 methods and results. Tempera, oil painting and decorative and applied art of the 17th to first half of the 20th century from the collection of the Chelyabinsk State Museum of Fine Arts. Album-catalog] / Ed. Yu.L. Alferova. Chelyabinsk: Chelyabinskiy gosudarstvennyy muzey izobrazitel'nykh iskusstv Publ., 2019. P. 98, cat. 4. /In Russian/).
7. Luzga means a bevel between the borders and cut-back centre portion of the icon panel.
8. Chemical analysis of a micro-particle of the new blue paint left on the icon's opush, showed it was Berlin blue, which only began to be used in Russia in 1748 (Luk'yanov P.M. Istoriya khimicheskikh promyslov i khimicheskoy promyshlennosti Rossii do kontsa XIX veka [History of chemical trades and industry in Russia until the end of the 19th century]. Moscow, Izdatel'stvo Akademii Nauk SSSR Publ., 1955. Vol. 4. P. 159. /In Russian/). Russian icon painters used this paint from the mid-18th to the early 20th centuries. Berlin blue was discovered in the author's paint layer of the Nevyansk icon of 1762 St. Nikolay with
scenes of his Life in 12 border scenes (NIM) (Krasilin M.M., Naumova M.M., Danchenko E.A. Ob odnoy gruppe nev'yanskikh ikon [About one group of Nevyansk icons] // Iskusstvo Khristianskogo mira. No 10. 2007. P. 406. /In Russian/). Taking into account these facts and the state of the innovative additions themselves (deep ubiquitous craqueLure of the paint Layer), we can cautiously assume that the renovation of the icon, The Mother of God of VLadimir, was made in the second half of the 18th / early 19th century.
9. Dvoynik means a thin Leaf of silver fused with a thin Leaf gold.
10. We wouLd Like to emphasize that with aLL Nevyansk icons (18th - earLy 19th centuries), studied earLier at the State Research Institute for Restoration, the fiLLer of the originaL prime is aLso anhydrite (Krasilin M.M., Naumova M.M., Danchenko E.A. Op. cit. /In Russian/).
11. These are not dvizhki in the cLassicaL sense of the word. The icon painter did not put white brush strokes on the Last Layer of white highLight. This is the first Layer of white paint (Laid on sankir) Left open in the form of the dvizhok, meaning it's not covered with the subsequent Layer of ochre.
12. ChemicaL anaLysis was not carried out. By visuaL signs, the Locks of the Christ's hair in The Mother of God of VLadimir were painted either with powdered goLd or powdered dvoynik.
13. The categorization of earLy Nevyansk icons into workshops was first carried out by E. Roizman (Nev'yanskaya ikona nachaLa - serediny XVIII veka: aL'bom. /In Russian/).
Примечания
1. При поступлении в музей в 1984 г. икона была датирована XIX в. К этому же времени она отнесена в каталоге 2003 г. (Пантелеева Г.И. Памятники Древней Руси из собрания Челябинской областной картинной галереи. Иконопись. Челябинск: Челябинская обл. картинная галерея, 2003. С. 110). Впервые с датировкой первой половиной XVIII в. «Богоматерь Владимирская» была опубликована в каталоге Музея «Невьянская икона» 2014 г. (Невьянская икона начала - середины XVIII века: альбом / авт.-сост. Е.В. Ройзман, М.В. Ратковский, В.И. Байдин. Екатеринбург: Музей Невьянская икона, 2014. С. 110).
2. Известны три ранние невьянские иконы из Нижнетагильского музея-заповедника «Горнозаводской Урал»: «Богоматерь Одигитрия» (инв. ТМ-20338 / И-309), «Николай Чудотворец» (инв. НВ-16993), «Николай Чудотворец» (инв. ТМ-17984).
3. Лаврентьева Е.В. Богоматерь Египетская 1734 г.: технико-технологические особенности самой ранней датированной невьянской иконы // Вестник славянских культур. Т. 57. 2020. С. 232-245.
4. Автор статьи благодарит представителей ЧГМИИ и, прежде всего, заместителя директора по научной работе Ю.Л. Алферову за предоставленную возможность изучения памятника и организационную помощь.
5. Химический анализ красок и грунта иконы был проведен И.Ф. Кадиковой, зав. Лабораторией физико-химических исследований ГОСНИИР.
6. Спасти и сохранить. Музейная реставрация 2009-2019: методики и результаты. Темперная, масляная живопись и декоративно-прикладное искусство XVII - первой половины XX века из собрания Челябинского государственного музея
изобразительных искусств: альбом-каталог / гл. ред. Ю.Л. Алферова. Челябинск: Челябинский гос. музей изобразит. искусств, 2019. C. 98, кат. 4.
7. Лузга - небольшой скос в иконной доске между полем и ковчегом.
8. Химический анализ микрофрагмента записи на голубой опуши показал наличие Берлинской лазури, краски, которую с 1748 г. начали активно применять русские иконописцы (Лукьянов П.М. История химических промыслов и химической промышленности России до конца XIX века: в 6 т. Т. 4. М. : Изд-во Акад. наук СССР, 1955. С. 159). Эта краска обнаружена на невьянской иконе 1762 г. «Св. Николай со сценами жития в 12 клеймах» (Музей «Невьянская икона») (Красилин М.М., Наумова М.М., Данченко Е.А. Об одной группе невьянских икон // Искусство Христианского Мира. № 10. 2007. С. 404-416.). Учитывая эти факты и состояние сохранности понов-лений (глубокий повсеместный кракелюр), мы можем осторожно предположить, что икона «Богоматерь Владимирская» была поновлена во второй половине XVIII - начале XIX века.
9. Двойник - тонкий лист серебра, покрытый с одной стороны тонким слоем золота.
10. Мы хотим отметить, что в качестве наполнителя грунта на невьянских иконах XVIII-XIX вв., исследованных ранее в ГОСНИИР, был также идентифицирован ангидрит (Красилин М.М., Наумова М.М., Данченко Е.А. Указ. соч.).
11. Этот движок — не что иное, как слой первой корпусной белильной моделировки по санкирю, который как бы «огибает», частично оставляет открытым второй слой из желтой охры.
12. Химический анализ не проводился. По визуальным признакам волосы Младенца написаны либо твореным золотом, либо твореным двойником.
13. Классификация ранних невьянских икон по мастерским была проведена впервые Е. Ройзманом (Невьянская икона начала - середины XVIII века: альбом.).
Сведения об авторах
Lavrentyeva Elena - PhD in Art History, The State Research Institute for
Restoration, Research Fellow of Tempera Painting Restoration Department. 44-1, Gastello St., Moscow, Russia, 107014.
E-mail: Lavrentyeva_Elena@mail.ru ORCID 0000-0003-3486-48 62.
Лаврентьева Елена Витальевна - кандидат искусствоведения, ФГБНИУ
«ГОСНИИР», научный сотрудник Отдела научной реставрации станковой
темперной живописи.
107014, г. Москва, ул. Гастелло, д. 44 стр. 1.
E-mail: Lavrentyeva_Elena@mail.ru
