 |
 |
 |
Hans Baldung Grien (German, 1484/85-1545)
The Mass of Saint Gregory, 1511
Oil on panel, 89.2 x 125 cm
Gift of the Hanna Fund 1952.112
|
|
The Underdrawing
The underdrawing in this painting was done directly on the light ground, or preparation layer. Analytical equipment is used to help conservators and art historians "see" what lies beneath the paint layers. Infrared reflectography is a technique that enables conservators to see a drawing done by the artist on top of the ground layer.
| |
 |
|
|
| Detail of the color notation on the curtain on the right side of the picture. "Gron" indicates the color of the curtain was to have been painted green. IRR: copyright Prof. Dr. Molly Faries/Stichting RKD |
|
|
| |
The underdrawing beneath this painting is divided into two types: one of color notations indicating which color or pigment is to be used on the surface, and a second type delineating the figures, particularly the faces and the drapery. The former indicates that a workshop of other artists aided Hans Baldung Grien in his studio. In some instances, the color notations conform to the color of the paint on the surface. For example, Saint Augustine's red sleeve is underdrawn with the word "rot" or red in German. "Gel" for gelb or yellow was detected under the shoulder of the golden vestment worn by the figure to the right of Saint Gregory.
In some instances, however, the notation does not relate as clearly to the color of the overlying paint. "Bla," for blue, is found under the light gray sleeve of the figure to the left of Saint Gregory. "Brun," for brown, is under the red sleeve of the cleric on the right, a few inches below the book. These may indicate tonalities, pigments, or areas of light or shadow.
|
| |
 |
|
|
| Detail: Infrared of Saint Gregory with changes in facial features. IRR: copyright Prof. Dr. Molly Faries/Stichting RKD |
|
The other type of underdrawing seems to indicate all compositional elements and iconographic details, such as the coins and dice of the Passion derive from. The faces are clearly underdrawn. The positions and profiles are not followed exactly. For example, the contour of Saint Gregory's head is enlarged, and in the drapery there are areas of hatching in the shadows and flowing outlines, accomplished with a brush in dark black paint.
|
| |
Both side panels forming the wings of the triptych have underdrawing in the figures that closely resembles the character of the underdrawing in our picture. The panel at the National Gallery has two underdrawn color notations; the panel at the Metropolitan Museum of Art has none.
|
Page 6 of 9 | On the next page:
Artists' Workshops
|
