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Prayers and Portraits prayers and portraits Unfolding the Netherlandish Diptych National Gallery of Art, Washington | November 12, 2006 – February 4, 2007 the exhibition is made possible by the homeland foundation, inc. technical appendix 276 277 the following is a record of we examined and documented two full Abbreviations individuals Cat. 3. Albrecht Bouts gold leaf here has a butter-yellow auto- dots over the gold, trailing off to the upper cal quality of a tracing. The hatching and observations made by a team of conser- diptychs (cats. 26 and 31), both uniquely ef Eugene Farrell (huam) fluorescence like that immediately under left from the body of the dots. Although crosshatching from the second stage were vation, curatorial, scientific, and other well preserved, in a single day. Peter Klein, institutions the gold on the frame (see below), possibly the dots appear to have been applied in done in a liquid medium and are very mdg Maria Dolores Gayo (mnp) ecce homo and mater dolorosa professionals who studied sixty-five of Hamburg University, performed new huam Harvard University Art a mordant or a bole layer. lines from bottom right to top left, no regular, marking zones of shadow. They mg Melanie Gifford (nga) wings: the angel gabriel and Netherlandish panel paintings that either dendrochronological analyses for us and Museums, Cambridge, ma The frame has a different buildup effort was made to standardize the pattern, do not always follow contours precisely nk Narayan Khandekar (huam) the virgin annunciate currently function or are thought to have provided findings from his earlier exami- kmska Koninklijk Museum voor of preparation layers. Over a ground layer so an overall speckling is produced rather (i.e., at the nostrils). We did not observe the pk: Peter Klein (Hamburg University) Suermondt-Ludwig-Museum Aachen, originally served as part of a diptych. This nations. Paint samples for the project were Schone Kunsten, Antwerp similar to that on the panel, two colored than regimented rows. powdery underdrawing seen in the Ecce hl Henry Lie (huam) inv. no. gk 57 research project was initiated, organized, taken by Melanie Gifford and Catherine mnp Museo Nacional del Prado, layers are present: the first is gray; the In the first paint stage the right hand Homo, and we found this underdrawing cm Catherine Metzger (nga) Examined at sral: 15 – 27 September 2003 coordinated, and administered by Ron Metzger of the National Gallery of Art Madrid second is a thin yellow-tan with a butter- was more horizontal, with the fingers generally more rigid and schematic than jm Joe Mikuliak (pma) by cm, mr, rs, cvd, av, uv Spronk, associate curator for research, and Narayan Khandekar of the Harvard mtb Museo Thyssen-Bornemisza, mp Michael Palmer (nga) yellow autofluorescence also seen in upper starting farther to the right and the little that for its mate. Straus Center for Conservation, Harvard University Art Museums, then analyzed Madrid ap Amy Powell (huam) Documentation and analyses layer on the panel under the gold leaf. The finger slanted downward. In the final Several minor changes were made University Art Museums. The other core by Gifford at the National Gallery and nga National Gallery of Art, mr Michael Rief (Suermondt-Ludwig- 2003 at sral: Phase One visible and ir top two layers in cross section are 1) dirt painted position the knuckles are higher. between underdrawing and the paint members of the research team were Khandekar at Harvard. Washington, dc Museum Aachen) as well as Inframetrics irr by cvd, and 2) traces of repaint with an orange Both the x-radiograph and irr show stage: the mouth was underdrawn slightly Catherine A. Metzger, senior paintings Research materials were processed and pma Philadelphia Museum of Art cs Christoph Schmidt (smbg) av; binocular microscopy by cm, rs; autofluorescence like that on the top layer increased density of paint in this hand. open with a dip in the center, but it was conservator, National Gallery of Art; archived at Harvard’s Straus Center, largely rte Rijksmuseum Twenthe, gs Gerhard Schultz (smbg) x-radiography by at; dendrochronology of the composite frame. The rope was painted over the robe rather painted straight across; and the fold in the Catharina Van Daalen, Theodore Rousseau by Catharina Van Daalen.2 X-radiographs Enschede rs Ron Spronk (huam) by pk; cross sections by cm than left in reserve, as were the hair and veil at the top center is painted slightly preparatory design: Two stages of under- Intern, Harvard University Art Museums were digitized at high resolution and smb Stedelijke Musea Brugge at Arnold Truyen (sral) 2005 at nga: cross section analysis by mg hands, implying that it was a late addition. narrower than it was underdrawn. drawing are readily visible in irr; a prior (2003 – 2005); and Adriaan Verburg, Founda- assembled into composites where neces- smbg Staatlichen Museen zu Berlin, mt Mark Tucker (pma) stage, possibly brushed away, is implied paint layers: The paint was so thinly tion Arcobaleno, Antwerp. We typically had sary.3 Assemblies were produced from Gemäldegalerie cvd Catharina Van Daalen (huam) ecce homo (db no. 23.45) by residues of a powdery material in mater dolorosa (db no. 23.46) brushed that the underdrawing is vis- infrared documentation and x-radiographs digital infrared reflectograms and macro- sral Stichting Restauratie Atelier av Adriaan Verburg (Foundation striations of the intermediate layer. The ible, seeming to lie atop the intermediate at hand when studying the paint surface photographs in the visible and infrared Limburg, Maastricht Arcobaleno, Antwerp) frame: Integral. Regilded. Exterior pro- frame: Integral. Regilded. The flat outer medium of the revealed underdrawing layer and directly beneath the paint. The with the microscope. Large numbers of ranges of the spectrum. Files were super- uv Ulrike Villwock (Suermondt- files were probably cropped, as the inner plane is the same width throughout, appears to be liquid, with both thin and paint follows the underdrawing fairly photographs, macrographs, and micro- imposed, allowing for close comparison Ludwig-Museum Aachen) profile is wider in places than the exterior, unlike that on the Ecce Homo. X-radiogra- bolder washlike lines. Thin pale gray lines closely, and hatching shows through graphs were digitally captured for later between technical documents. Our and the width of the flat outer profile is phy revealed a metal element at the top, visible in irr were probably traced over to create midtones. An unusual system reference. We traveled with digital cameras, observations and documentation were slightly wider at the top of the arch. The probably a remnant of a hanging device. frame on the Mater Dolorosa is generally now-removed material of an initial under- of shading, using clusters of tiny thin infrared equipment, and computers owned entered in a relational database; and docu- support: Oak, 45.3 31.1. Single plank wider, and its flat outer profile has an even drawing to define contours. The final strokes of brownish red (i.e., at the bot- by Harvard University’s Straus Center ments (about 75,000 files totaling around with vertical grain and shallow bevels on width throughout, but the overall widths underdrawing was apparently executed in tom of the chin and nose), adds color to but used microscopes provided by local 200 gigabytes) were renamed to facilitate the reverse, wider at the top. The reverse 1 4 and heights of the two framed panels a heavier, more washlike material to pre- shadows. Forms are painted with slight institutions. We are deeply grateful to archiving and later accessibility. It is our is covered with reddish brown paint that are similar. This suggests that the frame pare areas of shading. gaps between the color areas so that the colleagues who allowed us unparalleled hope that all these materials will at some is thinner than the paint on the reverse of the Ecce Homo was trimmed to match Compared to the underdrawing in effect is flat and lacks the vitality of the access to research facilities and works point become accessible on the Internet. of the Ecce Homo, and it has no dark under- that for its companion panel. Several holes the Mater Dolorosa, this was more organic, more richly developed technique in the of art in their care, sometimes for weeks at layer. This paint lies over paper scraps in the top may be traces of former hanging fluid, assured, and free. Paler, thinner Ecce Homo. a time (in Antwerp, Berlin, and Maastricht). securely dated to 1804 (see entry), indicat- devices. A large insert at the back of the contours were applied with confidence, In other locales we worked under greater ing that the coating and inscription on the top edge reinforces this area of damage. often using several lines for a single con- wings: the angel gabriel and time pressure; in Bruges, for example, reverse were added after 1804. Grooves in the sides allow the panel to be tour. Darker lines added shading with the virgin annunciate fit into the secondary frame. crisply parallel hatching. In some places dendrochronology: Earliest possible (db nos. 23.118 – 119) (i.e., the back of the left hand where a felling date: 1509; earliest possible creation support: Oak, 45.5 31. Two planks, verti- frame: None. Illusionistic painted frames. tangle of thinner, lighter lines goes in date: 1511; statistically more plausible pro- cal grain. Left plank is 27.1 / 27.3 cm wide; One edge of each panel is hinged directly different directions) the drawing is dif- duction date: after 1517 (assuming 2 years right plank is 4.3 cm wide at the bottom. to the composite frame enclosing the Ecce ficult to interpret. The contours of the left for seasoning and transportation). Reverse is painted reddish brown over a hand were redrawn in the darker line used Homo and Mater Dolorosa.
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