Portrait of Georg Spalatin

- the wood species can no longer be established

- original size of the wooden panel: c. 33 x 28 cm

- white, probably chalk/glue, not tested

- compact, relatively thick ground

- the original edges of the panel have not been preserved

- an imprimatura could not be detected

- faint underdrawing lines visible only in the eyes (not visible to the naked eye)

- no alterations; the painted contours follow the underdrawing

- black underpaint in the background, cool brown beneath the collar, the hair was laid in with a brown wash (visible under the stereomicrope)

- the economic underdrawing was followed by a brown wash (hair, background and dark sections of the clothing). The flesh paint and the grey robe were left in reserve. The deep shadows of the flesh paint were also laid in with a brown wash (e.g. neck)

- brushstrokes, glazes

- the brush type is difficult to establish; the hair was executed with the typical fine pointed brush

- not original, plate frame (copy, 1995)

- dimensions: 47 x 42 x 3 cm

- oak

- narrow plate frame. Joins:mitred at the front, overlapping on the reverse, Colour: natural oak, patina, bare wood, waxed

[Museum der bildenden Künste, 11.06.2014]

- an undedrawing is not visible

[Smith, Sandner, Heydenreich, cda 2012]

• the painting is in rather bad condition: only 50% of the original material is preserved

Support:

• transferred from wood to canvas, the format was enlarged by c. 1 to 2 cm. The original painted surface measures c. 33 x 28 cm. A considerable number of the losses probably occurred when the painting was transferred. Marks from the lining canvas are clearly visible in raking light.

• wavy deformation along the left and right edges of the painting parallel to the nails in the stretcher, running horizontally c. 3.5 cm into the picture plane

Ground/Paint Layers:

• The remains of the original paint layers exhibit the grid-like cracquelée typical of wooden panels. Under the stereomicroscope abrasion down to the ground is visible along the edges of the cracquelée. There are numerous very small to larger paint losses scattered over the entire painted surface, these have been repeatedly filled and retouched. The original paint layers exhibit deformations and are generally very abraded, particularly in the glazes and the brown tones. The entire surface is extensively retouched and the background was probably glazed over.

• recent retouches are beneath the last varnish layer, see UV

• four large, retouched losses: at the left in the background, at the height of the face, in the neck, at the bottom centre in the grey robe and at the left beneath the left shoulder

Varnish:

• the varnish dates back to 1994/95

• limited amount of inactive woodworm in the frame

[Museum der bildenden Künste, 11.06.2014]

• transferred from wood to canvas

• the paint layers are very damaged and retouched

[Guratzsch, Cat. Leipzig 1995, 35]

• treatment report in the painting file, MdbK

[Museum der bildenden Künste, 11.06.2014]

Restored for the exhibition in Kronach

[Guratzsch, Cat. Leipzig 1995, 35]