An ill-matched pair

Identification of wood species: limewood (Tilia sp.)

DESCRIPTION

Tools/Materials:

- fluid black pigmented medium, brush

Type/Ductus:

- freehand underdrawing

- combination of long broad strokes and thin lines; varying in tone and width

Function:

- rough indication for the final painted version; lines delineate contours, indicate folds in the drapery and define details and facial features; no representation of volume

Deviations:

- numerous minor alterations made during the painting process to clearly define forms

INTERPRETATION

Attribution:

- Lucas Cranach the Elder

[Smith, Sandner, Heydenreich, cda 2012]

- limewood (Tilia sp.)

- 5 boards, widths from the left: top: 12.0, 14.5, 10.5, 9.4, 11.8 cm, bottom: 14.7, 12.3, 11.8, 9.0, 10.7 cm

- the panel was reduced to a thickness of 0.5 cm

- the knots were left in the wood

- the painted side of the panel was covered with tow, applied beneath the ground. There is a canvas appplication over a knot beneath the woman's left arm

- the dimensions are more or less original

- the panel was framed and then the ground was applied and it was painted

- executed with a brush

- fluid drawing of the man's facial features

- deviations from the painted version: a moustache covers the man's mouth, the woman's face is thinner, the left shoulder of the dress is higher

- the flesh paint is applied in thin layers, wet-in-wet

- single hairs have been painted with a feather

- the gold threads in the garment and bonnet are painted

[Bartl, Cat. Nuremberg 1997, 140]

Support

• the panel has been reduced to a thickness of 0.5 cm

• there is a small amount of old wood worm damage

• the joins are partially loose, the middle and left joins were reglued when the cradle was attached to the reverse of the panel

• splits

• the dimensions are essentially original, the right edge has been trimmed slightly with a plane

Reverse:

• smoothed before the cradle was attached

• a short split at the top pf the panel was reinforced with wooden blocks

• a transparent brown coating was applied

Painted surface:

• the layers containing large quantities of lead white have become transparent so that the underdrawing is visible

• there is extensive craquelée in the areas where there is an application of tow beneath the ground

• there is paint loss along the joins, the splits and where there are knots

• there is extensive abrasion in the woman's dress, particularly in the lower half of the painting. In some areas it goes as far as the ground. It has been retouched

• drying cracks in the back of the dress. There is overpaint below the waist and the shadow was reconstructed

• there are numerous small retouches, particularly in the old man's hair, his overcoat and the balls of his thumbs

• patchy remains of an old varnish

[Bartl, Cat. Nuremberg 1997, 140]