A multi-disciplinary analysis of the Portrait of Philip the Good in Dijon

Abstract

One of the finest fifteenth-century portraits of the Burgundian Duke Philip the Good resides in the Musée des Beaux-Arts in Dijon. This small yet exceptionally crafted panel holds significance for both historians and art historians alike. Surprisingly, prior to this study, the context, the dating and the authorship of the piece remained obscure, and the widely circulated hypothesis of it being “a copy of a lost portrait by Rogier van der Weyden” has never been corroborated by convincing arguments. Clarifying the context, dating and authorship of the painting were the primary objectives of the investigations discussed in the article. Therefore, this painting underwent a multidisciplinary investigation spanning both the positive and human sciences. Macro-XRF scans were conducted alongside hyperspectral reflectance scans, multispectral imaging in the visible and infrared range, and optical coherence tomography. These analyses were complemented by an art historical study. As a result, a precise delineation between authentic and retouched sections was achieved. This article does not merely present the various perspectives separately but constructs a coherent narrative based on all these foundations. This holistic multidisciplinary research methodology produced a clear account, albeit with some scope for future inquiry. The involvement of the painter Pieter Cristus was conclusively demonstrated. This painter, whether himself personally, an assistant in the workshop or a contemporary follower, is attributed to the genesis of this work, which is presumed to be not the original portrait but a contemporaneous copy, possibly commissioned by the Burgundian Duke himself. While we no longer remain in the dark and have lifted some veils, this study also paves the way for further investigation into this panel and the numerous other portraits of Philip the Good.