20

Abb. 20: Joachim Sandrart, Erzherzogin Maria Anna, Kurfürstin von Bayern, 1643, Leinwand.
Wien/KHM
Abb. 21: Joachim Sandrart, Dame mit Taubennest, um 1645, Leinwand. Wien/KHM
Abb. 22: Joachim Sandrart, Minerva und Saturn beschützen Kunst und Wissenschaft vor Neid
und Lüge, 1644, Leinwand. Wien/KHM

The Conservator’s Point of View  

Changes of Format, and Condition

The painting was restored in 1965 and is still in good condition. Especially
 along the lower edge and in the background small, discoloured areas of
retouching and overpainting are visible. They were added to cover the transition
 from the missing original borders of the painting to the lost paint layers.
The pressed paint layers caused by the lining have resulted in a severe change
in the appearance of the original, extremely smooth surface. The craquelure
in the flesh tone seems more visible and negatively affects the painting’s
appearance.
Several details indicate the changing of the original format. All borders of
the painting have been cut on all sides. The lower edge shows a fine single
woven binding of the canvas, which covers the borders as well. This fabric
is not original but was not removed during the restoration of 1965. During
this restoration the painting was lined using a canvas of herringbone twill
and was mounted on a frame. Despite the destroyed original canvas, the
remaining addition of canvas along the lower edge made it possible to show
the completed three strings of pearls worn by the sitter. X-ray images document
 earlier changes of format (see fig. R1a, R1b). Note the dark lines along
the upper and lower edge of the painting caused by losses of paint layers, a
consequence of folding the canvas along the painting’s upper and lower edge.
The painting’s size was probably reduced in the past to match its size to another
 painting’s (see Storffer Inventory).

Painting technique

A bright gesso ground covered with first dark underpainting forms the
basis of the painting. This probably also includes areas of the flesh tone.
These flesh areas comprise several layers of lead white. X-ray images document
 that lead-white was also used in the lighter parts of the dress, in the
lace and the pearls (fig. R1a). Infrared reflectography reveals the delicate outlines
 of the preparatory drawing in the lighter areas only. They were probably
executed with a fine pen (fig. R2a and R2b) and show that there have been
no major changes in the composition.

Ingrid Hopfner