Martin Luther

Stereomicroscopy, XRF spectroscopy (Thermo Scientific - Niton XL3t GOLDD+), UV light examination, X-radiography (Oehm u. Rehbein, Leonardo/ Varex-Perkin Elmer XRPad2 4336), Infrared reflectography (Osiris 900 – 1700 nm)

- a single beech board, vertical grain; the dimension (19.1 x 1.,8 x 0.25 cm) correspond with those of the Standardformat 'A' (as defined in [Heydenreich 2007 A, 43])

- the horizontal plain marks on the reverse of the panel extend to the edge (no rebate or chamfer), a black and probably original coating covers the reverse without extending over the edge

- remnants of glue or size are visible along the edges of the panel, suggested it was originally fixed in a frame, which has not survived

- white ground applied before the panel was fixed in a frame

- on all four sides fine incised lines are visible in the ground

The infrared reflectogram reveals a fine lined underdrawing executed using a dry drawing material. The contours and essential details are indicated with economy using single lines, which when magnified sometimes appear as dots. This fact suggests the lines may have been traced. The contours of the hat and shoulder were described more freely with occasional overlapping lines, using a thin pen. Here the final painted version deviates slightly from the underdrawing.

XRF analysis was used to detect the elements and by comparing their optical characteristics the following pigments were identified: lead white, blue containing copper (azurite), vermilion, iron oxide/ochre and charcoal black. The use of calcium carbonate and/or gypsum in the ground is suggested by the presence of calcium.

The flesh paint was executed employing pale local colour (lead white, vermilion, iron oxide), a greyish brown shadow tone - occasionally stippled-, a more intense pink admixture and an opaque flesh coloured application, as well as single white highlights. The whitish and dark edges of the eyelids create sharp contours around the eyes. The brown irises were each highlighted with two vertical and slightly curved white lines, the smaller of which extends over the black pupil.

The very fine grain blue paint (azurite and lead white) in the background was applied with a stippling (bristle) brush. The modelling of the folds in the black drapery is delicately nuanced. The boundaries of forms were clearly defined and little overlapping occurred during the painting process. No significant compositional alterations are evident.

[Heydenreich, unpublished examination report, 15.05.2023]

The panel painting is in a good and stable condition.

Support:

• the original dimensions and the finish on the reverse of the panel have been retained

• the panel exhibits a slight convex warp

Paint Layers:

• there are tiny pinpoint losses in the flesh paint, which do not compromise the image

[Heydenreich, unpublished examination report, 15.05.2023]