Portrait of Adriaen Moes by Anthony van Dyck
ca. 1628
Oil on Canvas (lined)
114,5 x 92 (h x w) in cm
Introduction
This report explains in detail all technical investigations carried out on a portrait of Adriaen Moens by Anthony van Dyck. The report includes high-definition imaging in normal light (NL), UV induced fluorescence (UVif), digital X-Radiography (XR) and Infrared Reflectography (IRR). In addition, microsamples were embedded and analyzed in cross-section to observe the pigment and paint structure.
Textile Support and Stretcher
This auxiliary support, a six membered stretcher, is not original to the period of the painting and likely dates to the 19th Century.
The canvas has been lined with a fine tabby weave textile and what appears to be a glue paste adhesive. The back of the artwork has an inscription and the stretcher bars have remnants of paper labels from various periods. The support does not have any prominent damages or losses that need to be treated.The date and origin of the inscription on the lower left corner is unknown. The imaging techniques detailed below did not reveal further information about the inscription. We believe but cannot confirm that this text replicates an inscription on the original canvas.
- Wax-Resin lining on original canvas
- Original taking margin was shortened during the lining procedure
- Stretcher is old but not original
- Stretcher keys partially intact/preserved
- Various labels and inscriptions on the stretcher
The primary canvas support was prepared with two ground layers. The first layer consists primarily of chalk and the second layer is a gray tone made from a mixture of lead white, charcoal black, and small amounts of earth pigments. This finding was documented by cross-section analysis. No binding medium research was undertaken.
Imprimitura?
Underdrawing?
The main composition shows only very few and small losses which relate to a vertical craquelure pattern. This crack pattern looks similar to those often caused when paintings are un-stretched and stored in a roll. This reasoning would also justify the presence of a lining treatment when the painting’s original support has no major damages.
How was the artwork painted?
