Special Exhibitions
Conserving the Past for the Future
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Special Exhibitions |
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Conserving the Past for the Future |
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Artists' Workshops Studio workshops were usually set up by well-known artists who had commissions for large altarpieces and other work that would require more work than a single artist could accomplish. Often a staff of studio assistants would include both highly trained individuals and students. The major artist in the studio might be personally involved in the most important paintings or details within the paintings or only supervise the work. Workshop participants often specialized in one aspect of the overall project, such as gilding or painting drapery.Nature was not copied directly, instead various apparatus were used to create illusions of perspective or settings for the various paintings. These might include small stage settings and models of human and animal figures. Usually, the major artist would be intimately involved in the design for a picture. Often, the underdrawing done on the primed canvas or panel was in the artist's own hand. The color scheme would also have been influenced by the artist. In cases such as this painting, color notations might be found under paint layers to indicate the pigment or tone of the upper paint layers. Shading might be indicated by a series of parallel lines. After the painting was finished, parts of it might be copied by the workshop for other commissions. In fact, the composition of the Metropolitan picture and the figure of John the Baptist from the National Gallery painting were adapted by Baldung's workshop a few years later for the Schnewlin Altarpiece, in the cathedral of Freiburg. Page 7 of 9 | On the next page: Related Works |
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