HYLÄTTY MOOSES – MONITIETEINEN TUTKIMUS VALOTTAA ERÄÄN MAALAUKSEN TARINAA. (Finnish)

Research into works of art in private collections is often detective work. &is was the case with the painting Abandoned Moses (1784), which is a copy of a similar painting in the Hermitage by French artist Eustache Le Sueur (1616–1655), titled The Exposition of Moses (1640s). This article examines the relationship between these two artworks and several versions of the same subject in Le Sueur’s production, extending the art history part of the study conducted by RECENART Oy in 2018. This study takes a multidisciplinary approach, combining technical research methods with art history, to raise the question of an artwork as a cultural heritage issue. The value of a work of art and artistic practices that influence its creation have changed over the centuries. A key aspect of this study is the relationship between the original and the copy. This artist Alexander Ivanovich Kirpichnikov, a student of the Academy of Fine Arts in St Petersburg, painted Abandoned Moses a year before his graduation. Kirpitchnikov had not worked on the basic graphics, because his colours are faithful to Le Sueur’s original painting in the Hermitage, even though Kirpitchnikov was working at a later date. Copying was part of academic art training in the seventeenth and eighteenth centuries. [ABSTRACT FROM AUTHOR]

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