The document discusses the economy of means used in sculpture workshops in Brussels in the late 15th and early 16th centuries. It describes the technical features of sculptures produced, including being made of oak with juxtaposed pieces joined with wood glue and pegs. This method allowed workshops to maximize the use of wood while achieving a high aesthetic quality and volume with efficient material use. The techniques suggest a specific workshop's modus operandi that could help identify other works.

1. LESS IS MORE.
THE ECONOMY OF MEANS IN THE PRODUCTION OF THE SCULPTURE WORKSHOPS
OF BRUSSELS IN THE LATE FIFTEENTH AND EARLY SIXTEENTH CENTURIES.
Study Day Medieval Sculpture Production Centres
November 23rd 2016.
Suermondt-Ludwig Museum, Aachen, Germany
EMILIO RUIZ DE ARCAUTE MARTÍNEZ

2. We have general knowledge about:
- The guild structure in the Flemish sculpture workshops.
- The productive centres of Brussels, Antwerp and Mechelen.
- The marks of guarantee.
- The types of wood used.
- The wood origin.

3. ICOM-CC Working Group Sculpture,
Polychromy, and Architectural Decorations
Maastricht, October 2010 - Hosted by SRAL
Glasgow, April 2012 - Hosted by Glasgow Life
Tomar, May 2013 - Hosted by Instituto Politécnico de Tomar

8. © KIK-IRPA, Brussels (Belgium), cliché: b121972
St. Margaret of Antioch. Brussels, 1520
Church of Notre-Dame-de-la-Chapelle, Brussels

9. Christ on the Rock. Brussels, c. 1515
Musée-du-Cinquantenaire, Brussels

10. Altarpiece of the Coronation of the Virgin Brussels, 1528
Church of the Asumption, Renteria.

11. Reliquary bust. Brussels, 1521-22
Museu Nacional d’Art de Catalunya, Barcelona

12. Altarpiece of St. George. Brussels, 1593
Musée-du-Cinquantenaire, Brussels

13. Sint-Janskerk van Hemelveerdegem.
© KIK-IRPA, Brussels (Belgium), cliché: X026659, X026666, X026673, X026680, X026687, X026712.

14. Gdansk
Antwerpen
Gdansk
Antwerpen

15. + 250 cm in length (maximum of 500 cm)
+ 30 - 40 cm in width (depending on the diameter of the trees)
+ 2 to 14 cm thick

16. 1 2
6
7
54
3
Altarpiece of the Coronation of the Virgin Brussels, 1528
Church of the Asumption, Renteria.

17. Altarpiece of the Coronation of the Virgin Brussels, 1528
Church of the Asumption, Renteria.

19. Reliquary bust. Brussels, 1521-22
Museo Diocesano de Arte Sacro, Vitoria

22. Reliquary bust. Brussels, 1521-22
Museo de Los Caminos, Astorga
Reliquary bust. Brussels, 1521-22
Hearst Castle/California State Parks, San Simeon

23. Reliquary bust. Brussels, 1521-22
Museo Diocesano de Arte Sacro, Vitoria

27. Wooden pegs

28. Slivers of wood

29. wooden bit brace

30. Reliquary bust. Brussels, 1521-22
Museu Nacional d’Art de Catalunya, Barcelona

32. Reliquary bust. Brussels, 1521-22
Museu Nacional d’Art de Catalunya, Barcelona

33. Reliquary bust. Brussels, 1520-30
Museo Nacional de Escultura, Valladolid

34. To conclude The technical features described:
-. Oak carving (wainscots).
-. Juxtaposition of several pieces.
-. Simple glued joins + wooden pegs.
-. Slivers of wood in the joins.
-. Maximum use of the wood, tools used, quality of details, ...

35. To conclude
Perhaps they describe the modus operandi
of a specific workshop .
And these key points can be used as a tool
to identify this workshop.
The technical features described:

36. The reliquary busts:To conclude
-. Quite a big task.
-. Short period of time.
-. Workshop with the capacity for the job.
-. Enough wood.

37. -. Proving that less can be more.
It was capable of achieving:
-. The maximum feeling of volume with the minimum thickness.
-. And the best aesthetic quality with most efficient use of the wood.

38. Thank you very much.