Venus and Cupid

Examination in visible light, raking light and under the microscope (40x), under UV light and infrared reflectography.

- probably beech wood, a tangentially cut board, bevelled slightly irregularly along the edges (to about 1.5 cm)

- white ground, prabably chalk/glue, possibly with the addition of some oil

- thin, smooth application

- dry dark pigmented medium; sketchy in character; lines delineate contours and generally describes inner forms

- the lines in the face of Venus are different in character, comparatively solid and continuous, possibly traced

- otherwise generally thinner searching lines, rarely curved, often numerous attempts and overlapping (e. g. the legs and feet of Venus or the different positions of Cupid's wings); the final contours defined with a few thicker lines

- generally influenced by the woodcut that served a model, but more reserved: Cupid's wing smaller, only indication of the quiver, contrapposto pose of Venus not so pronounced, the veil of Venus only implied

- oil/resin binding medium; few layers; rapid application; numerous changes during the painting process

Coatings:

- remnants of original coating

- new frame from the 1980s, stained dark brown, moulded profile, burl wood verneer, mitred corners

[Kurpfälzisches Museum Heidelberg, unpublished examination report, 2021/2022]

Generally stable with a fine crack pattern extending over the entire surface. Numerous conservation campaigns.

Support:

• slight horizontal convex warp

Ground/Paint layers:

• numerous pin point paint losses where the wood rays have been truncated; at an early stage this was extensively overpainted with oil paints

Coatings:

• numerous layers of natural resin varnish, in part with the addition of wax; yellowed

Frame:

• stable; small knocks along the outer edges

[Kurpfälzisches Museum Heidelberg, unpublished examination report, 2021/2022]

Conservation treatment in preparation for the exhibition: 'Frauenkörper':

• removal of varnish and overpaint under the microscope (ethanol, scalpel), the extensive glazes in the sky were only reduced

• small losses were retouched using gouache (Horadam, Fa. Schmincke), a solution of dammar in Shellsol A+T (1+3+3 GT) was applied as an isolating varnish, and further retouches were carried out with oil-resin glazes (Mussini, Fa. Schmincke)

• the frame was cushioned with felt (adhesive methyl cellulose), the panel was fitted in the frame with spring clips and an acid free backboard was mounted on the reverse

• all materials (except the acid-free board, Fa. Klug; and the felt, Fa. Voigt) purchased from Fa. Deffner & Johann

[Kurpfälzisches Museum Heidelberg, unpublished examination report, 2021/2022]

• at some stage the pin-point paint losses were overpainted (n.d.)

[Kurpfälzisches Museum Heidelberg, unpublished examination report, 2021/2022]