Support
- limewood (Tilia sp.). Identification of wood species carried out by Dr. Peter Klein, report from 19.11.1995 in the conservation file
- probably cut out of a larger panel (tangential)
- 2 horizontally aligned boards with butt joints, rebate on all four sides, probably originally fitted in an engaged frame
- board widths: I: 35.8 left/35.3cm right, II: 4.2cm right/3.7cm left
- the original surface exhibiting marks from a block-plane has been retained on the reverse
- no reinforcement of the joins is visible
- rebate width: 8-11mm
- the format has not been altered
Ground and Imprimatura
- white ground, probably chalk/glue (not tested)
- thick ground, c.0.5 mm
- the ground extends to the edge of the panel at the bottom and the left and right sides (indicating that the panel may have been cut out of a larger panel with a ground application), along the top edge the boarder of the ground is visible (no barb), small ridges could result from the ground applied to the original frame or from the paint layers
- an incised line runs almost continuously along all four sides, further incised lines: run from the corners at a c. 45° into the image, c. 5-6cm
Underdrawing
- an economic linear drawing (faintly visible under the flesh paint in IR), probably traced with a stylus
- not visible to the naked eye
- no incised lines visible
- no alteration in the painted version
Paint Layers and Gilding
Flesh paint:
Shadows and half-shadows were initially painted with a cool greyish-brown wash on the white ground and softly blended. The ground remained exposed to achieve the highlights. After drying an admixture of vermilion/ochre/white was delicately applied wet-in-wet, and in part scumbled over the greyish-brown to create a mother-of-pearl-like flesh tone. This tone creates the half-shadows. The shadows were created by leaving the dark brownish-grey underpaint. Highlights executed in a vermilion/lead white admixture were in part blended with the wet flesh tone. Finally fine contours were added in a brown tone. The hair was initially underpainted with ochre. After drying linear highlights and contours were added.
Garments:
initial opaque dark brown layer, modulated by blending a lighter coloured paint. The collar was initially painted employing a semi-opaque light brown, a linear texture was added employing brown and black tones.
Background:
initial brown layer, subsequent semi-opaque blackish-brown layer applied
Text:
off-white paint applied with a pointed brush (no ruled lines)
- glazed to opaque application, impasto highlights
- flat and pointed brushes of differing widths, thin paint consistency, economic use of impasto
- the painted surface extends minimally beyond the incised lines
Framing
- not original, 19th century
- dimensions: 61.5 x 51.5 x 5 cm
- coniferous wood
- mitred, consisting of two profiile frames; imitation ebony and ripppled batten with gold accents, gilded inner profile
[Museum der bildenden Künste, 11.06.2014]
