Johann the Steadfast. Elector of Saxony (1486-1532)

Identification of wood species: Beech wood

[Klein Report, 06.10.2015]

Analysis of paper

PIGMENTS: (X-ray fluorescence spectroscopy)

At all the points measured lead was detected (probably a lead based pigment in the ground or the imprimatura).

Red: 4, 5 (flesh paint: cheeks, lips): some vermilion, lead white

Blue: 1 (background): copper based blue pigment (probably azurite); lead white

White: 7 (shirt): lead white, some calcium present (possibly a small addition of chalk?)

Yellow: 2 (signature): lead-tin-yellow

Brown: 6 (beard): probably ochre, some vermilion

Black: 3 (hat): probably carbon black, some copper based pigment, some vermilion, high zinc content (siccative?) 8, 9 (printed text on the paper): probably carbon black

Ground: 10 (exposed white ground): lots of calcium (probably chalk ground)

[Jens Bartoll/SPSG Berlin, Feb. 2015]

DESCRIPTION

Tools/Material:

- dry, dark drawing material, stylus

Type/Ductus:

- delicate, traced or copied lines

Function:

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

Deviations:

- minor corrections were made to forms during the painting process

INTERPRETATION

Attribution:

- Workshop of Lucas Cranach the Elder

Comments:

- Probably transferred from a preexisting design

[Sandner, Smith-Contini, Heydenreich, cda 2019]

[Christoph Schmidt, Gemäldegalerie Berlin; Feb. 2015]

optical assessment and radial/tangential section examined employing transmitted light microscopy

Beech wood

- the support is a single plank, radial cut

- the direction of the grain is vertical; the panel is trimmed on all four sides, thinned and has the following dimensions:

Plank 1: 36.0 cm x 23. 2 cm x 0.4 cm

Light, white chalk ground that extends to the edge of the support. there is no barbe. Lead white detected across the entire painting using X-ray fluorescence spectroscopy suggests the presence of an imprimatura containing lead white.

There is evidence for a relatively binding underdrawing that is visble as lively rogue lines and in general optically through the saponified paint layers. Close up infrared reflectographs clearly show a consentration of black for example in the lines of the mouth at the bottom or in the upper left nose line and may suggest the use of pouncing.

PIGMENTS: (X-ray fluorescence spectroscopy)

At all the points measured lead was detected (probably a lead based pigment in the ground or the imprimatura).

Red: 4, 5 (flesh paint: cheeks, lips): some vermilion, lead white

Blue: 1 (background): copper based blue pigment (probably azurite); lead white

White: 7 (shirt): lead white, some calcium present (possibly a small addition of chalk?)

Yellow: 2 (signature): lead-tin-yellow

Brown: 6 (beard): probably ochre, some vermilion

Black: 3 (hat): probably carbon black, some copper based pigment, some vermilion, high zinc content (siccative?) 8, 9 (printed text on the paper): probably carbon black

Ground: 10 (exposed white ground): lots of calcium (probably chalk ground)

The paint was applied to a white ground, which according to pigment analysis is probably a chalk based. The painted surface does not extend to the edge of the panel. A certain amount of lead white was detected employing x-ray fluorescence spectroscopy and suggests the presence of an imprimatur containing lead white. The flesh paint was executed first, then the clothes and finally the background. It overlaps the figure in many places, like the hat. In places the ground is left exposed. The paint is applied edge to edge. The background was executed rapidly in a thin, painterly application. There are also stripy impasto brushstrokes both crossways and in opposite directions. In the x-radiograph this dynamic application in different directions with a bristle brush is readily visible. The base tones were painted first, above those the shadows in a dense grey admixture. On top of this are isolated economic dark brown glazes creating shadows and linear texturing as well as single highlights. The fur and hair was applied over the glazed undertone. The brush strokes in the first layer of the fur run crossways to the texture of the fur applied on top. Clearly visible is the confident application of curved lines in the hair and fur that overlap neighbouring paint zones and are completed with highlights. The use of a fine paint brush frequently divided the stroke in two at the end. The painted areas are with the exception of the background smooth and without texture. Impasto highlights were employed for example in the shirt. In the x-radiograph it can be seen that the shirt was originally conceived slightly larger on the left side. Sections have been painted over. Also clearly visible are the highlights with a lead content and the dense application of the lighter areas with lead in the paint. The present varnish is not original.

Paper application on the lower section of the panel:

The inscription at the bottom of the panel is on paper and consists of two printed pages from a book. A section appears to be missing (original?) at the right side on the upper piece of paper.

Examination of the paper under the stereomicroscope shows the typical, unstructured, layered, woven fibre associated with high quality rag paper.

The print image is characteristic of the 16th century.

Not original frame

Profiled batten, gilded, stained dark, sgraffitto

45.6 cm x 32.5 cm x 5.5 cm (glazed)

Support:

Thinned, cradled (apparently with walnut wood); old woodworm damage. Open channels are visible. On the front of the panel where the edges are exposed it can be observed that the woodworm damage extends to just below the ground layer. Together with the cradle the wooden panel is 2 cm thick. There are no traces of ground or paint at the edges of the panel. This suggests that the panel may have been trimmed at a later stage.

Paint Layers:

The paint layers are in very good condition with the exception of isolated retouches and tiny losses. There are isolated areas of abrasion. There are drying cracks in the dark black paint areas and a fine network of cracks extends over the entire surface, but does not exhibit any cupping. The present varnish has yellowed slightly.

Paper:

The paper consists of two pages from a book and is stained, discoloured and abraded. The left page exhibits losses and retouching . There is a small loss in the right page at the top. Later an unprinted paper insert was attached here and toned in.

After purchase of the painting only preventative measures were carried out in the Deutsche Historisches Museum. There is no documentation available regarding earlier interventions.

[Deutsches Historisches Museum, revised 2016]