The Head St John the Baptist (fragment)

The Head St John the Baptist (fragment)

Title

The Head St John the Baptist (fragment)

[cda 2019]

Painting on wood

Medium

Painting on wood

[unpublished examination report G. Heydenreich, 2018]

The painting depicts St John’s severed head in a bowl held by Salome in front of her body. It is probably a fragment from an originally larger panel. Only the lower section of the velvet sleeve and part of the lower body belonging to Salome have survived.

[unpublished examination report,

The painting depicts St John’s severed head in a bowl held by Salome in front of her body. It is probably a fragment from an originally larger panel. Only the lower section of the velvet sleeve and part of the lower body belonging to Salome have survived.

[unpublished examination report, G. Heydenreich, 2018]

Attribution
Follower of Lucas Cranach the Elder

Attribution

Follower of Lucas Cranach the Elder

[unpublished examination report G. Heydenreich, 2018]

Production date
before 1750 or after 1940

Production date

before 1750 or after 1940

[unpublished examination report G. Heydenreich, 2018]

Dimensions
Dimensions of support: 11.6 × 22 cm

Dimensions

  • Dimensions of support: 11.6 × 22 cm

  • [unpublished examination report G. Heydenreich, 2018]

Signature / Dating

None

Inscriptions and Labels

On the reverse: - label: 'No 97, Haupt Joh. des Täufers'
[unpublished examination report, G. Heydenreich, 2018]

Inscriptions and Labels

Inscriptions, Badges:

  • On the reverse:

    • label: 'No 97, Haupt Joh. des Täufers'

  • [unpublished examination report, G. Heydenreich, 2018]

Owner
Private Collection
Repository
Private Collection
CDA ID
PRIVATE_NONE-P298
FR (1978) Nr.
FR-none
Persistent Link
https://lucascranach.org/en/PRIVATE_NONE-P298/

Connected Works

Salome (fragment)
  • Salome (fragment), about 1600 - 1667
  • PRIVATE_NONE-P524
  • Painting
  • Private Collection

Provenance

  • no information available
    [cda 2019]

Research History / Discussion

The support, ground, underdrawing and the paint layer structure of this painting are considerably different to verified works from the Cranach workshop. Grey lead white grounds have not yet been identified on paintings from the Wittenberg workshop. The underdrawing differs from other works by Cranach and the technique for modulating the flesh paint and the red velvet draperies are not typical of Cranach.

[unpublished examination report, G. Heydenreich, 2018]

  • The Head St John the Baptist (fragment), before 1750 or after 1940

Images

Compare images
  • overall
  • overall
  • reverse
  • irr
  • x_radiograph
  • uv_light

Technical studies

03. 2018Technical examination / Scientific analysis

  • Infrared reflectography
  • irr

Underdrawing

DESCRIPTION

Tools/Material:

- dry, black drawing material

Type/Ductus:

- freehand underdrawing

- fine lines, at times searching lines

Function:

- relatively binding for the final painted version; the lines define the main contours and describe essential details and the facial features; no representation of volume with hatching strokes

Deviations:

- corrections were made to forms during the painting process; no significant changes

INTERPRETATION

Attribution:

- not possible

Comments:

- after a pre-existing design or copied after Cranach the Elder

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

  • photographed by Gunnar Heydenreich
  • photographed by Ingo Sandner

03. 2018Technical examination / Scientific analysis

  • X-radiography
  • x_radiograph
  • created by Gunnar Heydenreich

03. 2018Technical examination / Scientific analysis

  • UV-light photography
  • uv_light
  • photographed by Gunnar Heydenreich

2018Technical examination / Scientific analysis

  • Stereomicroscopy
  • Infrared reflectography
  • X-radiography
  • Instrumental material analysis

Support

The wooden support (11.6 x 22 x 0.6 cm),appears to be beech wood.The panel exhibits a broad bevel of c. 7 - 8 mm along the left, right and lower edges.The top edge does not exhibit any bevelling, instead the edge shows saw marks where the upper section of the painting was removed, probably a depiction of Salome.

Ground and Imprimatura

The ground is pale grey.

A considerable amount of lead (lead white) was detecetd via XRF, the ground may also contain calcium (chalk or gypsum).

Optical interpretation of the numerous protrusions indicates a reaction between lead white and oil, suggesting that the ground contains oil.

There is no barbe visible.

Underdrawing

The composition was executed with a fine drawing implement, probably a stylus. The execution is relatively free with curved lines; searching lines can be observed, particularly in the hands.

Paint Layers and Gilding

Using XRF analysis various elements were detected in the paint and after a comparison of their optical characteristics the following pigments could be identified: lead white, vermilion, ochre, copper blue and lead tin yellow I. It was not possible to identify all pigments.

Tthe paint was applied in thin layers with flat and pointed brushes; there are only very minor deviations from the underdrawing.

The red velvet dress is modeled over a reddish brown underpaint, a black layer is not present.

[unpublished examination report, G. Heydenreich, 2018]

Condition Reports

Date2018

The fragment is in a very good and stable condition. There are very fine vertical splits in the paint layer.

[unpublished examination report, G. Heydenreich, 2014]

  • examined by Gunnar Heydenreich
  • examined by Diana Blumenroth

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'The Head St John the Baptist (fragment)', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/PRIVATE_NONE-P298/ (Accessed {{dateAccessed}})
Entry with no author
'The Head St John the Baptist (fragment)', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/PRIVATE_NONE-P298/ (Accessed {{dateAccessed}})

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