Title: Petr Brandl – rukopis jeho podpisem : poznámky k Brandlovu malířskému rukopisu
- Peter Brandl – brushwork as his signature : notes on Brandl's brushwork
Source document: Opuscula historiae artium. 2022, vol. 71, iss. 1-2, pp. 136-147
ISSN1211-7390 (print)2336-4467 (online)
Persistent identifier (DOI): https://doi.org/10.5817/OHA2022-1-2-11
Stable URL (handle): https://hdl.handle.net/11222.digilib/digilib.77463
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
In the field of hanging paintings of the second half of the 17th and the first half of the 18th century in Bohemia, the work of Peter Brandl (1668–1735) stood out for its stylistic and brushwork concept. From the beginning of his work, the painter gravitated above all to an energetic very dynamic presentation expressed through a divided brushwork and lively work with a brush. From the beginning, he applied dense layers of paint only to some parts of a painting – he tested his technical approaches on compositions with figures of old people – similar to Rembrandt. Since the 1720s whole compositions have been formed using the impasto technique – also evident is engraving with the brush handle or fingernail and the touch of fingers on the still-drying layer of paint. The study tries to answer questions about Brandl's brushwork style, which has always been valued by art historians as original and modern – but could it also have been perceived as such in its own time? The brushwork style was already connected by historiographers of the 17th century with an artist's nature and his "spirit", but the very topic of the work could also have had an effect on it. The point of view of the client, who may have required a certain style of brushwork, cannot be ignored either. These and other aspects are addressed in this study, which focuses mainly on the works of Brandl's peak period – that is, on the 1720s.