Portrait of Princess Elisabeth of Saxony

Striking is the austere expression of concentration in the face, which has been completely worked up, while the remaining composition is only suggested. The initial design was executed in black chalk on a pale pink sheet of paper with a ground application. Subsequently the flesh paint was carried out with an initial bright pink paint layer applied with increasing transparency in the areas of shadow. A wreath of hair in brown and yellow paint completes the face, whereas the remaining composition was merely indicated with brown brushstrokes. This economic and effective oil sketch is a technique developed by Cranach the Elder. Our sheet also corresponds with what H. Geissler referred to as idealized portraits, which he nevertheless assumes were recorded in front of the model. The superb quality of the work lies in the balance between the artistic form and the palpable human presence.

[Gero Seelig, Cat. Berlin 1994, 137f.]

The toned paper, the linearity of the bust portrait, the economic indication of costume details and the exquisite precision of form are comparable with Holbein. This court style reflects the noble status of the sitter.

[Buck 2015, 147]

the contours were not pressed through, but were reproduced exactly on the panel of the painting.[1]

[...] the oil sketch served as a reminder and reliable guide for the painting process and this would explain the presence of barely visible details that were carried over from the sketch. Moreover they are also included in the underdrawing. The position of shadows was also carried over.

[1] This was confirmed by using tracing paper; to date tracings have only been made from reproductions with the same dimensions as the originals and it would useful to confirm this with ones taken from the original works.

[Buck 2015, 147]