The Dying Man

- Identification of wood species from the 26.10.2013, the report is in the documention file in the MdbK, carried out by Prof.Dr. Peter Klein: limewood (Tilia sp.)

- the panel consists of two vertically aligned boards with butt joints; tangentially cut; the right board exhibits more knots; widths of the boards: I: 20.9 cm top, 20.7 cm bottom; II: 15.9 cm bottom, 15.6 cm top

- the join is covered with an applicationof tow on the recto

- vertical marks from a block plane and horizontal marks from a simple plane; the top and bottom edges are slightly chamfered; saw marks are visible along both side edges

- the edges are straight

- the size of the panel was not altered

- thin, white ground, probably glue/chalk (not tested)

- at the left and right the ground extends to the edge of the panel; the paint surface suggests the format is original and was not trimmed; at the top and bottom a barbe is visible (suggesting the use of a working frame) and the edges are without ground

- incised straight lines in the chalk ground delimiting the pictorial plane run along all four edges of the panel

- a imprimatura could not be detected

- confident underdrawing; drawn loosely with a quill

- visible under the stereomicroscope in the areas of flesh paint and brown tones

- no technical devises appear to have been employed during the drawing process

- only minor deviations from the final painted version

- brushstrokes, washes, glazes and linear definition of the contours

- small to very tiny pointed brush

- the composition was initially laid in with different admixtures of a grey tone. An inital cool grey layer of varying opacity was applied under the blue sky and the clouds and the figures were held in reserve. The architectural elements and the ground, but also the shadows in the flesh paint were in part initially fixed with a thin grey application or wash. The paint layer structure is relatively simple. After the underpainting had dried the flesh paint was applied unmodulated and semi-opaque. Subsequently highlights were added wet-in-wet employing vemilion/white and blended slightly. Finally delicate lines were added with a pointed brush (contours, hair, highlights).

- beyond the incised lines the image is framed by an opaque black painted band

- at the lower half of the left edge there is a fingerprint in the black band, see photo

- the paint has become more transparent in the brown tones and the flesh paint

- the inscription at the top is executed employing shell-gold

- not original, from 1921; coniferous wood, dimensions: 100.5 x 44.3 x 4.2 cm (addition: 5.5 cm)

- at the top mitred, at the bottom open mortise and tenon joint; the sill was applied as a unit; the fluting is coated blue and gilded (metal with patina)

[Museum der bildenden Künste, revised 11.06.2014]

Identification of wood species: limewood (Tilia sp.)

DESCRIPTION

Tools/Materials:

- fluid black pigmented medium, pointed brush and quill (details)

Type/Ductus:

- freehand underdrawing

- thin, short, sketchy lines; combined with longer, unbroken broader lines; some hatching strokes

Function:

- binding for the final painted version in the central; thinner line delineate the contours, describe the forms within the figure; occasional representation of volume (hatching-strokes)

Deviations:

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

INTERPRETATION

Attribution:

- Lucas Cranach the Elder

[Smith, Sandner, Heydenreich, cda 2012]

New frame:

- the present frame was made in 1921

[Guratzsch, Exhib. Cat. Leipzig, Heidelberg 1997, 54]

Support:

in a stable condition; the panel exhibits a slight convex warp, the join is split (c. 3 cm) at the bottom; the corners and edges are slightly damaged

Ground and paint layers:

in a stable condition, some craquellée, in part more defined, here slightly raised edges (in raking light); tiny losses and pressure marks; some small retouches, these are discoloured and occasionally matt and slightly textured

Surface:

no original varnish; the surface exhibits some dirt; even application of varnish, silky matt gloss, slightly yellowed and smeared; the last varnish application was probably in 1925 by Kühn

[Museum der bildende Künste, 11.06.2014]

Inventarbucheintragungen MdbK N° 40 - Restaurierungen [Entry in the conservation Inventory]:

"Neuer Rahmen von der Firma F.H.Schieber in Leipzig( M 152.50) [New frame from the company F. H. Schiedber in Leipzig (M 152.50)] d. 23. III. 21

[Museum der bildende Künste, 11.06.2014]