Zprávy památkové péče 2017, 77(1-2):123-131

Painting technique between the center and the countryside. The decorations of the All Saints Church in Heřmánkovice from the point of view of the restorers

Jan Vojtěchovský, Barbora Vařejková, David Svoboda

Fakulta restaurování Univerzity Pardubice

The aim of this study was to compare the technique of the still unknown regional painter Johann Hausdorf and the renowned Baroque fresco artist Cosmas Damian Asam, who could have been Hausdorf's teacher, directly or indirectly. The comparison was based on an analysis of the results of restoration and science research of two ceiling paintings attributed to Johann Hausdorf and a study of the painting technique of Cosmas Damian Asam at the Freising cathedral by Jürgen Pursche.
The technique of the painting and the materials used are not much different between the famous author and his regional colleague. The major difference between the compared paintings lies above all in the size of the daily parts, meaning the sections of freshly painted plaster that were painted within one day. The size of the daily parts by Asam is on average ten times greater than with Hausdorf (approx. 10 m2 and 1.2 m2). This fact can testify to the higher number of Asam's collaborators, but it rather shows the high degree of Asam's artistry and experience. Hausdorf, on the other hand, was significantly less sovereign as an author.
The painting was performed by both painters using the fresco-secco technique, using mainly lime paints or calcium-caseinate-bonded paints to allow for the application of more glazed layers. Asam's layers were finished with the secco technique, with arabic rubber or starch also identified. As it can be assumed, the authors' painting expressions are very different, particularly their work with the brush, which is on a much higher level for Asam. Asam uses thick lime pastes to build volume, in addition to color vallers, which he may have varnished after drying. Hausdorf's considerably less pasty painting comes across a bit flatter in this respect. Asam, unlike Hausdorf, did not deal so much with detail and focused on the plastic effect of the main forms.
As can be seen from the above information, the clear distinction between the regional painter and the artist who realized his works in a number of European projects is primarily to be found in the painting expression, meaning what a well-informed observer can recognize upon the first sight of the painting. On the contrary, we notice smaller differences in the technique and the materials used, although the difference in the size of the daily parts of both authors is astounding. The study of the technique of both painters, unfortunately, does not provide us with information as to whether there could have been a master/pupil relationship between the two painters. Hausdorf's technique carries the signs for the wall paintings of the period and, unlike Asam's technique, nothing special stands out in this respect. Based on this study, it is not possible to say whether there was any link between the two painters. It is clear, however, that Hausdorf knew of Asam's production and was inspired by it at least in terms of layout of composition of the vaulting and of specific decorative elements. Without the necessary training under an experienced fresco artist, he would not have been able to undertake the independent monumental realizations that he executed in Broumov.

Keywords: Heřmánkovice, Johann Hausdorf, wall painting technique, art in the center and in the countryside, Cosmas Damian Asam

Published: March 1, 2017  Show citation