The Virgin and Child with the infant St John

DESCRIPTION

An underdrawing is not readily visible.

[Sandner, Smith-Contini, Heydenreich, cda 2020]

The wooden panel (76 x 54.6 x 1.2 cm) consist of three planky of varying width and appears to be a soft wood.

The reverse has been carefully smoothed (tothed plane) and reinforced with two moveable cross members.

The edges have been bevelled.

The support does not exhibit the characteristic features associated with the Cranach workshop.

The ground is white, a barbe is not present.

No underdrawing was visible in the infrared reflectogram.

Using XRF analysis the following elements were detected in the paint layers and after comparing the optical characteristics the following pigments were identified: lead white, iron oxide, lead tin yellow, azurite

The presence of calcium suggests the use of calcium carbonate in the ground or as a fill material.

The grey underpaint contains strikingly large white particles.

Lead-tin-yellow was used to execute the wings of the angel on the left. The grey background contains azurite

The flesh paint was executed for the most part over a grey underpaint, using pink tones and exploiting the underpaint in the areas of shadow, this is particularly evident in the flesh paint of the angel on the right. The hair of the infant Christ was executed, using a brown glaze over a grey underpaint, subsequently a few yellow and some black hair strands were applied in relatively broad lines.

The x-radiograph shows that the painting process was carried out with few corrections: individual forms were clearly defined with little overlapping. Only in the figure of the infant Christ can minor corrections be observed where his toes were made shorter.

The distribution of grey values in the infrared reflectogram (which is partially related to the use of carbon black) differ from those found on authentic works from the Cranach workshop. The x-radiography also differs considerably from those of verified Cranach paintings.

The pigments identified were used frequently in European painting before 1750, and also in the Cranach workshop. However, as yet no other example of a grey underpaint containing large white particles is known from the Cranach workshop. The use of azurite in the dark grey background is also unusual. There is also a considerable discrepancy between the quality of this work and that of verified Cranach paintings. The serpent with its exceptionally broad body does not exhibit the characteristic form commonly found on paintings from the Cranach workshop.

[unpublished examination report G. Heydenreich, 2014]

The panel is in a relatively stable and good condition. Its original dimensions do not appear to have been altered significantly.

[unpublished examination report, G. Heydenreich, 2014]