Hercules with Omphale

The wooden panel (83 x 120.8 x 0.7 cm) consists of a number of hardwood planks of varying width. The planks are horizontally aligned and butt joined. The sides of the panel do not run parallel to each other.

The x-radiography shows that the application of fibre runs across the planks.

There is an original wooden insert at the left edge above the centre.

The proportions and size of the panel corresponds with the standard format 'E' used frequently in the Ccranach workshop from about 1520.

The panel exhibits a white ground, probably a chalk ground.

A barbe is not visible.

There is a black painted line of c. 1 cm width along the left and right edges of the panel.

The infrared reflectogram (Osiris, 900-1700nm) shows an underdrawing executed using dark chalk. The freehand and confident drawing of the figures with curved lines of varying length concentrates on describing the main contours and essential details. Heads, hands and draperies are defined with only a few lines and developed during the painting process. The neck and shoulder contours of the lady to the right of Hercules appear to have been shifted to the left during the creative process. In the faces the definition of the mouth, nose and eyes is also very sparing. Here the details were elaborated during the painting process and the position was occasionally altered. This is clearly visible in the face of the woman behind Hercules.

The faces were laid in employing a pale admixture of lead white and vermilion. Shadows were modulated with semi-transparent brown-black tones. Red paint was used to accentuate the cheeks. Volume and lighting were subsequently sensitively worked up with light opaque flesh paint. The eyes including the eyelashes appear to be executed with routine. The hair was laided in using a reddish brown underpaint and defined with fine, confident strokes. The red and green velvet robes were executed over a black underpaint, using red and green paint to define the folds, and were then drawn together with a semi-transparent glaze. The fur was laid in with brown underpaint and then defined with a split tipped brush. No major alterations in the composition are visible in the x-radiography (Seifert ERESCO 150KV/0,5mA / Examion CR 3X-pro). The fragment of German inscription in the background is today only visible as a difference in gloss. It is possible that this text had already been abandoned and replaced with the Latin text during the creative process.

[unpublished examination report, Heydenreich 19.09.2018]

The painting was considerably damaged in the past. In more recent times the panel was thinned and reinforced with a cradle, and trimmed slightly along the top and bottom edges. The thinning of the reverse and the subsequent reinforcement has caused a slight washboard deformation to the panel. Inactive woodworm channels are exposed on the reverse.

In many areas the paint layer is extremely abraded. The head of Hercules and numerous draperies are particularly affected. In contrast the faces of the women are in relatively good condition. Until 2012 the painting was considerably disfigured by extensive overpaint and amendments. These additions were removed during conservation treatment in 2015 and the losses were subtly retouched. This was executed in the face and beard of Hercules in consideration of the remaining original material. The natural cracking pattern in the paint layers has in places been enhanced by the original fibre application on the panel.

The original frame has not been preserved.

[unpublished examination report, Heydenreich 19.09.2018]

Conservation treatment carried out between 2012 - 2015 by Holger Manzke, Potsdam

[unpublished examination report, Heydenreich 19.09.2018]