Abstract
The writer discusses the drawing and painting technique of Geertgen tot Sint Jans on the basis of detailed examination of the panels that form the interior and exterior sides of the right wing of an altarpiece he painted, now in the Kunsthistorisches Museum in Vienna. Geertgen's compositional layouts are characterized by a calculated handling of underdrawing materials and, in specific instances, critical design revisions that take place in phases. The Vienna panels also evince a significant amount of compositional change, an indication of the ongoing creativity of his painting process. Some changes strongly influence the emotive content of his images, whereas other procedures suggest that he was striving for more efficient painting techniques. Ultimately, this information not only results in a greater appreciation of his skills as a designer and painter, but also describes the broad outlines of the painter's workshop.
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