Portrait of Johannes Cuspinian

Identification of wood species; Microscopy of cross-section:

Result: Species: Spruce (Picea sp.)

Sample taken by Heydenreich 1995

[Letter in the archive, Oskar Reinhart Collection 'am Römerholz', Winterthur]

- Old catalogue entry by Frehner: Limewood

The support consists of one broad tangentially cut pinewood plank (60.3 x 45.4 cm; a ratio of c. 4:3) with the grain running vertically. A knot close to the bottom edge, left of the centre, has been preserved. It may be concluded from the rings visible in the x-radiograph that both panels of the diptych are from the same plank. The top edge of the panel depicting Anna Cuspinian can be matched with the bottom edge of the panel depicting Johannes. In the area to the left of his head attire a local application of fibres (flax tow) is visible in the x-radiography. The reverse of the panel has been smoothed with a plane. The edge of the panel has been slightly bevelled/chamfered on the reverse along all sides. The left side of the panel may have been cropped by 2-3 mm.

The painting has a white ground. It appears to be a glue/chalk ground (EDX analysis of a sample from the Portrait of Anna Cuspinian showed the presence of calcium). In the x-radiograph light scratches are visible to the left of the head that may have occurred when the panel was sanded down. A burr created by the ground is present on all four sides of the panel about 0.5 cm from the edge (on the left 0.3-0.2 cm). Particles of wood are attached to the bare wood along the burr. The area to which ground was applied measures 59.1 x 44.5-44.8 cm. There are no incised lines visible along the edge. The burr is covered with a layer of black paint. There is a very thin white ground on the reverse.

A pigmented imprimatur cannot be identified.

Black fluid drawing medium, probably applied with a brush. Visible with the naked eye in amongst others the area of the upper lip. Lines have partially separated into single islands of colour, possibly resulting from a water-based ink and the repellent action of an oily isolating layer.

[ Infrared reflectogram (Konrad, Berlin)]

Gilding:

The stars and rings were created with gold coloured metal leaf, which appears to be gold leaf. The rays emanating from the stars were created by applying blue pigment to the metal leaf and then extended this with yellow paint.

Paint Layers:

The initial layer of the flesh paint is a pinkish dead colouring. It is a rather flat application predominantly in the vertical direction. The subsequent modelling of the physiognomy was carried out with coloured glazes and lighter admixtures with lead white. While opaque mixtures of red and white were employed for the pink tones, brown tones were rather transparent. Small amounts of blue pigment were identified in the areas of shadow.

In the x-radiograph the face appears to be executed with a degree of fluidity and exhibits a relatively weak absorption profile (an apparent profile, which is created by the varying x-ray absorption subject to the pigments and the layer thickness). The forehead, cheekbone and nose are emphasized with highlights to clarify the facial features and lighting. The eyeballs are painted bluish white; the iris blue and the pupils are black without reflections. The modelling beneath the eye is reddish in tone, while the eyelid is painted in brown to black shadow. The lips are described in pink paint and a brown line separates the upper from the lower.

The sky was initially painted with a violet to grey admixture (identified as fluorite and lead white (EDX) in the portrait of Anna Cuspinian. This grey underpainting was lightened to white along the horizon.

The sitter's black brocade robe contains azurite pigment particles (stereomicroscopic examination of the paint surface). In the lighter areas of the robe red lake pigments also appear to be present alongside the azurite.

The head attire seems to be underpainted in with an opaque red paint, while the subsequent modelling is carried out with a red glaze applied in various thicknesses- in part with the addition of black.

The book was under painted with bright red paint, the edge of which was removed by the application of a grey glaze. The pattern is partially scratched into the paint. It seems that Cranach pressed his finger into the wet paint to create the impression of bark on the tree trunk (background, left).

[see 1995 CA10 (Dr Gunnar Heydenreich)]

Microscopy of paint cross-section; incident light, ultraviolet light:

Sample list: 86

Cross-section number: EP 184

Brief description of paint: white paint, painting of a coat of arms

Location: Reverse, white paint

Incident Light microscopy: yes

Incident light microscopy_photo: slide

Ultraviolet light: yes

Ultraviolet light microscopy_photo: no

EDX: no

Observations:

2. very thin white layer - paint layer

1. thin white layer - ground

0. wood

Comment: white paint over a thin ground on wood

[see 06.09.1995 CA10 (Dr Gunnar Heydenreich)]

DESCRIPTION

Tools/Materials:

- fluid, black medium and brush

Type/Ductus:

- freehand underdrawing

- thin lines

Function:

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

Deviations:

- minor alterations made during the painting process to clearly define form

INTERPRETATION

Attribution:

- Lucas Cranach the Elder

[Smith, Sandner, Heydenreich, cda 2013]

Catalogue entry

"Das Bild befindet sich in einem guten Zustand. Die Holztafel ist etwas gewölbt. Inkarnat und Himmel sind etwas stark gereinigt. Einige, zum Teil verfärbte Retouchen im Himmel und im Mantel"

[Koepplin 2003, 127]

The painting is in a stable condition. In the past the support was damaged and reconstructed along the bottom and top left edge (top c. 18.5 x 2.5 cm; below c. 7 x 1 cm). The panel is slightly warped and partially weakened by woodworm. On the bottom edge there is a crack. The paint layers are damaged in the area of the fur collar and brocade coat. There are drying cracks in the area of the head attire.

Documentation of restoration from 1969

Dr. Paolo Cadorin, Basel

Treatment Report:

'A) Small blisters in the paint layer were reduced, particularly in the central part of the image.

B) Consolidation of the complete paint layer

C) Elimination of disturbing retouches, which had darkened.

[Archive, Oskar Reinhart Collection 'am Römerholz', Winterthur, revised 2011]

Documentation of restoration from 1968

W. Geissmann, Zurich

Treatment Report:

Frame: old coatings removed and replaced by new gilding

[Archive, Oskar Reinhart Collection 'am Römerholz', Winterthur, revised 2011]

Sample list: 86

Cross-section number: EP 184

Brief description of paint: white paint, painting of a coat of arms

Location: Reverse, whit paint

Incident Light microscopy: yes

Incident light microscopy_photo: slide

Ultraviolet light: yes

Ultraviolet light microscopy_photo: no

EDX: no

Observations:

1. very thin white layer - paint layer

2. thin white layer - ground

3. wood

Comment: white paint over a thin ground on wood

Documentation of restoration from c. 1925

Kinkelin, Munich

'According to the present owner the paintings were restored in Munich (by Kinkelin) shortly after their appearance on the art market. Some overpaint was removed during this intervention.'

[Koepplin 1973, 66]

Documentation of restoration from 19??

Paul Pfister

Treatment Report:

,Construction of two climatically controlled display cases, surface cleaning, local application of a dilute solution of dammar varnish to areas where the varnish had sunk.'

[Archive, Oskar Reinhart Collection 'am Römerholz', Winterthur, revised 2011]