Historical Painting Techniques, Materials, and Studio Practice

Abstract

The paper presents some results of
research on the painting materials
and methods used in Latvian
churches in the seventeenth century.
The technical research of historical
painting techniques in Latvia is rath­
er preliminary. The authors concen­
trate on the polychromy of the inte­
rior decorations. Results of the
analysis of materials and techniques
used in the decorations are given,
stressing the varieties as a result of
the various interpretations of the Ba­
roque style and technique in differ­
ent regions of Latvia.

Figure 1. The pulpit and the altar of the

Nurmuizha church bifore restoration. Photo­

graph by M. B. Va naga and R. Kanins.

Figure 2. The pulpit of the Burtnieki church

bifore restoration. Photograph by M. B.

Va naga and R. Kanins.

A Te chnical Study of the Materials and Methods

Used by the Painters of the Latvian Churches

in the Seventeenth Century

Ilze Poriete*

Restoration Centre History

Museum of Latvia

Vecpilsetas 7

Riga, LV 1050

Latvia

Dace Choldere

State Culture Monuments Department of Latvia

Klostera 5

Riga, LV 1050

Latvia

Introduction

In the second half of the seventeenth century, the territory of Latvia was

ruled by several different monarchs and was therefore divided into areas of

various influences. From the middle of the sixteenth century, the western part

was ruled by the Duke ofKurzeme an Zemgale; after the Polish-Swedish war

the southeastern part (Latgale) was subject to the Polish king and the north­

eastern part (Vidzeme) to the Swedish king. These conditions influenced the

production of Latvian art. Created by artists coming from various parts of

Europe, general styles and tendencies were interpreted in various ways (1).

Therefore, the objects of this survey-the churches and their pulpits in Nur­

muizha and Burtnieki, both decorated in the 1680s and representative of the

Baroque-illustrate two different styles using very different techniques and

materials.

The church of Nurmuizha is located in the territory of Kurzeme and was

fo unded in 1594; however, the present interior dates from the 1680s. Twisted

columns with rich decorative carvings and many sculptures portraying dis­

ciples of Christ decorate the pulpit and the church interior. A sculpture of

Moses fu nctions as support fo r the pulpit. The artist who executed the wood

carving is unknown but his style indicates an eastern Prussian origin. Al­

though written contemporary sources do not shed any light on when the

decorations were painted, one must assume that it was carried out in the

1680s. Later repairs are relatively extensive, including additional wood carv­

ings and paintings executed by different craftsmen, such as gilders and interior

painters (Fig. 1).

The church of Burtnieki is located in the northeastern part of Latvia which

was under the rule of the Swedish king. Here, the basic construction of the

pulpit is very similar to construction of the pulpit in Nurmuizha, but the

decoration is more restricted, rational, and even classical. Baroque influences

arrived here by many different routes, thus resulting in a large variety of

interpretations. In both churches, pulpits are situated under the arch of tri­

umph. In Burtnieki, however, the pulpit's construction is polygonal with

straight stairs, and the columns are not twisted but straight and narrow. The

sides of the stairs are decorated with panels separated by pilasters instead of

columns. Instead of sculptures, there are paintings on the panels between the

columns, all representing scenes from the New Testament. In contemporary

documents (1691), it is noted that the altar and the pulpit were painted and

outlined with silver. During the present restoration, a rather neutral over­

painting was removed, revealing the original decorative painting, which shows

• Author to whom correspondence should be addressed.

Poriete and Choldere 155