Durer Reconstruction

Georg Visher's Christ and the Adultress, oil on panel from 1637 was the chose for my tempura panel work. Visher panel was chosen for the reason that it is the earliest example of an interpretation of Durer's Self-portrait in a Fur-Collared Robe oil on panel 1500. In Durer's work he portrayed himself in a Christ-like manner. Vischer exploited this to his advantage as he then copied/referenced the Christ-like portrait in to a portrait of Christ. Utilizing both images as source material, my composition fashioned a combination of the two. The composition was taken from Vischer and in the place of Christ in that work, a detail of Durer's self portrait was substituted.

The preparation for this panel was quite extensive and followed the techniques that were laid out by the professor according to general understanding of the practices of that era. The preparation began with a smooth flat panel of poplar which we then attached a portion of linen. This was followed by several applications of animal hide glue. The glue not only seizes the linen but also creates a base upon which the layers of primer would adhere to. The primer (gesso sottile) was in a rabbit skin glue base and chalk and gypsum (calcium carbonate and calcium sulfate). Approximately ten layers of primer were applied before final surface preparation was completed. The final steps were to first sand and then scrape the surface to a smooth even topcoat that was free of any defect. Then using a charcoal drawing with holes poked through it, the original drawing was transferred to the panel. Charcoal was lightly pushed through the holes leaving a latent image. This imaged was then made into a permanent under drawing with the use of diluted India ink. After the drawing was dry the areas where the bole was to be placed was then scored off. This is done so that when water-gilding technique with gold leaf is done there is a proper amount of separation between the sections primed with the bole and those with out. The bole (red clay) layer was mixed with rabbit skin glue and applied to the panel only in the areas to receive the gold leaf. This was applied in a bout six layers and upon drying the gold leaf process began. A knife was used to cut the thin sheets of gold, and a broad flat brush with to gently place the gold on the whetted bole.