I look forward to receive more images from The Stedelijk Museum, or get permission to go by myself or have a student making detailed pictures so we can decipher the pattern and thereby preserve the textile knowledge of this canvas. Fingers crossed!
…I first found about this canvas in the Dutch TV show “Krabbé zoekt, a journey in Chagall’s footsteps”. Broadcast AVROTROS.
Although not allowed to see this program in Portugal, because of geographic location, I managed to catch some parts of the video and make a still. It was possible to get rough idea of the pattern.
source text and picture below: https://www.stedelijk.nl/en/collection/753-marc-chagall-le-violoniste
Marc Chagall’s The Fiddler, completed just after moving to Paris from St. Petersburg, is a good representation of the artist’s work from this period. The fiddler as a subject is often found in Chagall’s work. The huge figure of the musician in this painting stands with one foot on the roof of a building, the other on a small hilltop which flattens out the picture plane. By including the homes in the background as well as the musician, this painting recalls memories of Russia. Chagall’s paintings realized during this time in Paris often portrayed scenes from Russia with inspiration from his new surroundings. Cubist influences can be seen in the series of flat planes and geometric shapes as well as in the non traditional perspective.
Weave drafts of the canvas of Velázquez’s “Adoration of the Magi” (1619)
I tried to see the effect of switching the draft in the warp and in the weft. These pictures show the effect of ‘back and front view” and turning the ‘textile’ 90*
I will have to weave the textile to confirm if they are different or not.
Or do you think there are matches if we could see the black (warp) also as lines in the computer generated (Iweaveit) pictures ?
The reason for this puzzle is that it might give a more secure idea of warp and weft direction in canvases without a selvedge by assuming the most logic weave draft to work out on the loom….note: the drafts at the bottom are matching.
Velázquez’s Adoración de los Reyes Magos painted in Seville in 1619, is on a canvas with a pattern. Analyses of the original textile at one of the borders show an M W twill pattern where the diagonals do not line up perfectly. I will again double check the weave draft I have generated on Weavelt, and publish the full draft soon.
The Getty Foundation’s Conserving Canvas Initiative aims to ensure that skills in the structural treatment of works on canvas are not lost in a period where minimal intervention is a dominant approach.
Ian McClure, Susan Mores Hilles Chief Conservator at Yale University Art Gallery wrote about my work: “Her reconstructions based on high resolution-radiographs of paintings duplicate canvases, for example used by El Greco and by Velázquez in his Seville period where there is little information about his practice and where his paintings are not securely attributed. Ms. Loermans has set out to reproduce as many of his early canvases as possible which will contribute to our knowledge of the artist.”
Can’t wait to know if we will find more details on the canvases in the reproduction of the documents by Factum Arte. Imagine we find where and how they were woven…..that could open a whole new resource of information on textile production in that period !
It looks as if the canvas has a herringbone twill pattern. After analysing I found that the draft of the warp is an M W design. Much used in varieties in the canvases I have looked at until now. This textile is woven as a straight draft in the weft.
weave draft of the pattern of the canvas
Titian has painted Venus and Adonis on a canvas with a pattern
Last February I applied for a grant at Gulbenkian Foundation but it has not been approved.
I did not know by then that another opportunity was waiting at Factum Foundation…
On 3th of March I wrote:…I felt encouraged to present a proposal for a grant at the Gulbenkian Foundation to decipher the seven canvases with a pattern, as mentioned in this publication. Thanks to all of you who believe in this project. Especial thanks to Maria Manuela Santana, Textile Conservator at the Palacio da Ajuda in Lisbon and directive member of CIETA, and to Ian McClure, Chief Conservator at Yale University Art Gallery for their reference letters.