Emperor Heinrich II/ Verso: John the Baptist

Results

Drawing material:

- fluid (brush)

Technique:

Recto:

- extensive and detailed drawing with a brush, not binding for the painted version, for example on the right hand (originally smaller); the main outlines were executed in long, broad strokes, the facial features and the details on the hands were indicated with small arcs and hooks; the folds on the right sleeve and the light undergarment were emphasized with dynamic strokes; in the background on the left clouds or vegetation are indicated sketchily (not considered in the painted version) [1]

- in the robe single details not executed in paint, like the extension of the robe over the shoulder and the loops along the outer hem, four circular shapes indicating precious stones on the base ring of the crown, architecture as well as vegetation on the ground and the most significant shapes sketched freehand

Verso:

- similarly free drawing with a brush, which was not binding for the subsequent painted version; the outlines were executed with characteristic long, broad strokes, sometimes corrected and the muscles and folds were indicated employing arc, strokes and squiggles [1]

- brushstrokes to create the face show a slight change in the position of the eyes in comparison with the painted version; details indicating volume with the figure, underlined by the arrangement of the folds in the clothing, architecture originally partially with aand higher roof and towers in the background at the top left; isolated elements of the composition only partially visible due to later alterations like the right and left hands, the book and the lamb

- sketchy representation in the sky to the left of St John and on the right above the tree

[1][Schölzel, Exhib. Cat. Chemnitz 2005, 394]

[Böhme, Schölzel, Staatliche Kunstsammlungen Dresden, 2012]

Recto: extensive and detailed drawing with a brush, not binding for the painted version, for example on the right hand (originally smaller); the main outlines were executed in long, broad strokes, the facial features and the details on the hands were indicated with small arcs and hooks; the folds on the right sleeve and the light undergarment were emphasized with dynamic strokes; in the background on the left clouds or vegetation are indicated sketchily (not considered in the painted version)

Verso: similarly free drawing with a brush, which was not binding for the subsequent painted version; the outlines were executed with characteristic long, broad strokes, sometimes corrected and the muscles and folds were indicated employing arc, strokes and squiggles

New frame: gilded 18th or 19th century Dresden gallery frame

[Schölzel, Exhib. Cat. Chemnitz 2005, 394]

- 0.8 cm thick

- painted on both sides

- original surface on the reverse

- two vertically aligned boards

[Schlegel, Exhib. Cat. Chemnitz 2005, 394]

Support:

• the planks are convexly warped (Recto: 0.5 cm)

Painted surface:

Recto:

• retouches particularly in the background, in the lower half of the painting and along the joins; bottom left potential flaking

• old, yellowed varnish

Verso:

• fragmentary condition

• partially obscured by previous restorations and overpaint

[Schlegel, Schölzel, Exhib. Cat. Chemnitz 2005, 394]

[GGAM, Abt. Restaurierung, Meldung][1]

[1][Schölzel, Exhib. Cat. Chemnitz 2005, 394]

[GGAM, Abt. Restaurierung, Restaurierungsprotokoll][1]

[1][Schölzel, Exhib. Cat. Chemnitz 2005, 394]

[Sächs. HStADD, 13458 SKD, GG Nr. 8, Bd. 14, Bl. 167][1]

[1][Schölzel, Exhib. Cat. Chemnitz 2005, 394]

[Sächs. HStADD, 13458 SKD, GG Nr. 8, Bd. 3, Bl. 113, 114][1]

[1][Schölzel, Exhib. Cat. Chemnitz 2005, 394]