Martin Luther as 'Junker Jörg'

See German version

- beech wood (Fagus sp.). Identification of wood species, from 26.10.2013, the report in in the painting file MdbK, analysis carried out by Prof.Dr. Peter Klein.

- no knots, transverse cut

- single plank, vertical grain

- rebate on all four sides, up to 1.5 cm in width

- plank width: at the top not visible/ 27 cm bottom

- marks from a simple plane, in part nicked

- the joins are not reinforced

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

- thick

- the panel was fitted in an engaged frame when the ground was applied. wood shrinkage caused the barb to split off, this is visible along the top, and the left and right edges, it has shiffed c. 1-2 mm into the picture plane. along the bottom edge the barb is only minimally split

- incised lines are in part visible along the inner edge of the frame

- somewhat stiff, simple and economic drawing with ink and a quill

- visible to the naked eye through the flesh paint, e. g. in the hand

- almost no alterations in the painted version

- dark grey underpaint beneath the black paint layer (the garments), initial brown layer beneath the blackish-brown glazes (hair and beard)

- classic 'painting process'. The large areas like the background, the garments and the hair were painted with an initial opaque layer ( in the background this layer is relatively thick). The shapes and the transitions were clipped. the ductus is visible in raking light. The shadows in the flesh paint were blended employing a grey to greyish-brown wash. After drying the semi-transparent flesh tone was applied and lighter admixtures were blended wet-in-wet into this. A similar approach was assumed for some contours. fine line and contours were subsequently added.

- brush application, glazed in the areas of flesh paint

- ick applicationof paint in the background (the ductus is faintly visible in raking light), paint ridges are visible along the contours of the figure

- later a broad black band was painted along the inner edge of the frame over the split barb and it covers the disturbing light split and small losses

- presumably original

- hardwood

- gilded engaged frame witha sill

[Museum der bildenden Künste, 11.06.2014]

Identification of wood species: beech wood (Fagus sp.). A measurement was not possible.

DESCRIPTION

Tools/Materials:

- fluid black pigmented medium, pointed brush

Type/Ductus:

- relatively freehand underdrawing

- thin, unbroken lines

Function:

- binding for the final painted version; lines delineate the contours and describe the main facial features; no representation of volume

Deviations:

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

INTERPRETATION

Attribution:

- Lucas Cranach the Elder

Comments:

- presumably with reference to a preparatory drawing

[Smith, Sandner, Heydenreich, cda 2012]

Original engaged frame: deep coved profile, sill, gold coloured metal-leaf gilding (reworked), exterior black.

[Heydenreich 2007 A, 75, Fn. 7, 335, 336]

See German version

• the panel is in a stable condition

• no deformation, but a degree of shrinkage in the verical direction

• extensive craquelée in the background; in this area some retouches

• abrasion of glazes in the hair, abrasion also in the fleah paint, where it is also extensively retouched and in part overpainted

• large loss beneath the ear (old fill, matt retouching)

• discoloured retouches, overpaint and increase in transparency in the areas of the flesh paint

• no original varnish, cleaned numerous times, in the area of the garments thicker layers of varnish, slightly yellowed, relatively even gloss, occasional matt retouches

[Museum der bildenden Künste, 11.06.2014]

In a poor state of preservation, the face and hand overpainted.

[Friedländer, Rosenberg 1978, 99, No. 148]

• treated again in 1950 by Charlotte Kirchner (no record available)

[Museum der bildenden Künste, 11.06.2014]

Acta Restaurierung III - 1890-1923,

Sheet 186. Treatment report by Philipp Ritter, Leipzig end of December 1913. Annual report for 1913.

New acquisition, Portrait of Luther by L. Cranach the Elder with a beard [Cranach the Elder, Inv.-No. 946]. The painting had a very yellowed varnish, the background was slightly toned, in addition there were various splits and defects, overpaint in the face etc. A comprehensive treatment was carried out.

[Museum der bildenden Künste, 11.06.2014]