Studies confirm that at least three monochromatic coats of paint cover the retable\u2019s original polychromy.<\/p>\n
The retable\u2019s polychromy from Ackermann\u2019s time has survived only\u00a0 as incredibly tiny, isolated fragments \u2013 the damaged, peeling paint was evidently removed for the most part before repainting it for the first time so that the new coat of paint would adhere to the wood.<\/p>\n
The retable\u2019s coating remained monochrome at the start of the 1940s when Sten Karling, the grand old man of Estonian woodcarving art, introduced Ackermann\u2019s oeuvre in his monograph (Holzschnitzerei und Tischlerkunst …, 1943). Examinations ascertained that the sculptures and ornamentation were coated with bronze paint at that time, while the retable\u2019s architectonics were evidently coated with bluish-grey paint.<\/p>\n
The retable was last repainted, quite professionally, in 1939. An artist named Buchholz did the job according to Sten Karling\u2019s instructions, who had gone to study the altar and identified its original colours. The retable\u2019s current coat of paint, which can be seen in the photograph from 1940, evidently originates from precisely that time.<\/p>\n","protected":false},"excerpt":{"rendered":"
Studies confirm that at least three monochromatic coats of paint cover the retable\u2019s original 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