Primitive Folk Art Painting G Wittenberg

German painter and printmaker (1472–1553)

Lucas Cranach The Elder
Lucas Cranach the Elderberry, portrait at age 77, c. 1550, by Lucas Cranach the Younger. Oil on panel, 67 × 49 cm. Uffizi Gallery, Florence
Built-in	Lucas Maler c. 1472 Kronach, Holy Roman Empire
Died	16 October 1553(1553-10-16) (aged fourscore–81) Weimar, Holy Roman Empire
Known for	Painting
Movement	High german Renaissance

Patron(southward)	The Electors of Saxony

Lucas Cranach the Elder (High german: Lucas Cranach der Ältere [ˈluːkas ˈkʁaːnax deːɐ̯ ˈʔɛltəʁə]; c. 1472 – 16 October 1553) was a High german Renaissance painter and printmaker in woodcut and engraving. He was court painter to the Electors of Saxony for most of his career, and is known for his portraits, both of German language princes and those of the leaders of the Protestant Reformation, whose cause he embraced with enthusiasm. He was a shut friend of Martin Luther. Cranach likewise painted religious subjects, start in the Catholic tradition, and later trying to find new ways of carrying Lutheran religious concerns in art. He continued throughout his career to paint nude subjects fatigued from mythology and religion.

Cranach had a big workshop and many of his works be in dissimilar versions; his son Lucas Cranach the Younger and others connected to create versions of his father'south works for decades later his decease. He has been considered the well-nigh successful German language artist of his time.^[one]

Early life [edit]

Signature of Cranach the Elder from 1508 on: winged ophidian with cerise ring (equally on painting of 1514)

He was built-in at Kronach in upper Franconia (now central Germany), probably in 1472. His exact appointment of birth is unknown. He learned the art of drawing from his begetter Hans Maler (his surname meaning "painter" and cogent his profession, not his ancestry, after the manner of the fourth dimension and class).^[2] His mother, with surname Hübner, died in 1491. Later, the proper noun of his birthplace was used for his surname, another custom of the times. How Cranach was trained is not known, but it was probably with local due south German masters, as with his contemporary Matthias Grünewald, who worked at Bamberg and Aschaffenburg (Bamberg is the majuscule of the diocese in which Kronach lies).^[3] There are too suggestions that Cranach spent some fourth dimension in Vienna around 1500.^[2]

From 1504 to 1520 he lived in a house on the south west corner of the market place in Wittenberg.^[four]

Co-ordinate to Gunderam (the tutor of Cranach'south children), Cranach demonstrated his talents as a painter before the close of the 15th century. His piece of work and then drew the attention of Duke Frederick Iii, Elector of Saxony, known as Frederick the Wise, who attached Cranach to his court in 1504. The records of Wittenberg confirm Gunderam's argument to this extent: that Cranach's name appears for the first fourth dimension in the public accounts on the 24 June 1504, when he drew l gulden for the bacon of one-half a year, equally pictor ducalis ("the knuckles's painter").^[3] Cranach was to remain in the service of the Elector and his successors for the residual of his life, although he was able to undertake other work.^[2]

Cranach married Barbara Brengbier, the daughter of a burgher of Gotha and too built-in there; she died at Wittenberg on 26 December 1540. Cranach later owned a house at Gotha,^[3] only most likely he got to know Barbara near Wittenberg, where her family too owned a house, which later also belonged to Cranach.^[ii]

Career [edit]

The first bear witness of Cranach'due south skill as an artist comes in a flick dated 1504. Early in his career he was active in several branches of his profession: sometimes a decorative painter, more often producing portraits and altarpieces, woodcuts, engravings, and designing the coins for the electorate.^[three]

Early in the days of his official employment he startled his master's courtiers by the realism with which he painted even so life, game and antlers on the walls of the country palaces at Coburg and Locha; his pictures of deer and wild boar were considered hit, and the duke fostered his passion for this form of fine art by taking him out to the hunting field, where he sketched "his grace" running the stag, or Duke John sticking a boar.^[3]

Before 1508 he had painted several chantry-pieces for the Castle Church building at Wittenberg in contest with Albrecht Dürer, Hans Burgkmair and others; the duke and his brother John were portrayed in various attitudes and a number of his best woodcuts and copper-plates were published.^[3]

In 1509 Cranach went to the Netherlands, and painted the Emperor Maximilian and the boy who later on became Emperor Charles 5. Until 1508 Cranach signed his works with his initials. In that year the elector gave him the winged snake as an emblem, or Kleinod, which superseded the initials on his pictures after that date.^[3]

Cranach was the court painter to the electors of Saxony in Wittenberg, an area in the heart of the emerging Protestant faith. His patrons were powerful supporters of Martin Luther, and Cranach used his art every bit a symbol of the new faith. Cranach made numerous portraits of Luther, and provided woodcut illustrations for Luther'south German translation of the Bible.^[5] Somewhat afterward the duke conferred on him the monopoly of the sale of medicines at Wittenberg, and a printer'due south patent with exclusive privileges equally to copyright in Bibles. Cranach's presses were used by Martin Luther. His apothecary shop was open for centuries, and was only lost past fire in 1871.^[three]

Cranach, like his patron, was friendly with the Protestant Reformers at a very early stage; yet information technology is hard to fix the time of his first meeting with Martin Luther. The oldest reference to Cranach in Luther's correspondence dates from 1520. In a letter written from Worms in 1521, Luther calls him his "gossip", warmly alluding to his "Gevatterin", the artist's wife. Cranach first made an engraving of Luther in 1520, when Luther was an Augustinian friar; 5 years later, Luther renounced his religious vows, and Cranach was present every bit a witness at the betrothal festival of Luther and Katharina von Bora.^[ii] He was also godfather to their commencement child, Johannes "Hans" Luther, born 1526. In 1530 Luther lived at the citadel of Veste Coburg under the protection of the Knuckles of Saxe-Coburg and his room is preserved at that place forth with a painting of him. The Dukes became noted collectors of Cranach'southward work, some of which remains in the family collection at Callenberg Castle.

Portrait of Martin Luther, 1526, The Phoebus Foundation

The death in 1525 of the Elector Frederick the Wise and Elector John'south in 1532 brought no change in Cranach's position; he remained a favourite with John Frederick I, under whom he twice (1531 and 1540) filled the function of burgomaster of Wittenberg.^[3] In 1547, John Frederick was taken prisoner at the Battle of Mühlberg, and Wittenberg was besieged. As Cranach wrote from his firm to the grand-primary Albert, Duke of Prussia at Königsberg to tell him of John Frederick's capture, he showed his attachment by maxim,^[3]

I cannot conceal from your Grace that we have been robbed of our dear prince, who from his youth upwards has been a true prince to us, but God will aid him out of prison, for the Kaiser is bold plenty to revive the Papacy, which God will certainly non allow.^[3]

Hunting almost Hartenfels castle, 1540

During the siege Charles V, the Holy Roman Emperor, remembered Cranach from his childhood and summoned him to his camp at Pistritz. Cranach came, and begged on his knees for kind treatment for Elector John Frederick.^[3]

Three years afterward, when all the dignitaries of the Empire met at Augsburg to receive commands from the emperor, and Titian came at Charles's behest to pigment Male monarch Philip II of Spain, John Frederick asked Cranach to visit the city; and here for a few months he stayed in the household of the convict elector, whom he afterward accompanied habitation in 1552.^[3]

He died at age 81 on October sixteen, 1553, at Weimar, where the house in which he lived still stands in the marketplace.^[1] He was buried in the Jacobsfriedhof in Weimar.

Cranach had two sons, both artists: Hans Cranach, whose life is obscure and who died at Bologna in 1537; and Lucas Cranach the Younger, built-in in 1515, who died in 1586.^[ii] He also had three daughters. One of them was Barbara Cranach, who died in 1569, married Christian Brück (Pontanus), and was an antecedent of Johann Wolfgang von Goethe.

His granddaughter married Polykarp Leyser the Elderberry, thus making him an ancestor of the Polykarp Leyser family unit of theologians.

Veneration [edit]

The Lutheran Church remembers Cranach as a great Christian on April 6 along with Dürer,^[six] and possibly Matthias Grünewald or Burgkmair.^[7]

Works and art [edit]

Study for portrait of Margaret of Pomerania (1518–1569), c. 1545, a drawing with all details of the sitter'south costume meticulously described, was intended for the future reference and to facilitate the work on large number of commissions in the artist'due south atelier.

The oldest extant picture past Cranach is the Residue of the Virgin during the Flight into Egypt, of 1504. The painting already shows remarkable skill and grace, and the pino forest in the background shows a painter familiar with the mount scenery of Thuringia. In that location is more woods gloom in landscapes of a later fourth dimension.^[3]

Following the huge international success of Dürer'south prints, other German language artists, much more than than Italian ones, devoted their talents to woodcuts and engravings. This accounts for the comparative unproductiveness equally painters of Albrecht Dürer and Hans Holbein the Younger, and also may explain why Cranach was not especially skilled at handling colour, light, and shade. Constant attention to contour and to black and white, as an engraver, seems to have affected his sight; and he ofttimes outlined shapes in black rather than employing modelling and chiaroscuro.^[3]

The largest proportion of Cranach'due south output is of portraits, and it is chiefly thanks to him that we know what the German Reformers and their princely adherents looked like. He painted non only Martin Luther himself only besides Luther's wife, mother and father. He also depicted leading Catholics similar Albert of Brandenburg, archbishop elector of Mainz, Anthony Granvelle and the Duke of Alva.^[3]

Crucifixion of Christ, 1503

A dozen likenesses of Frederick III and his brother John are dated 1532. It is feature of Cranach'southward prolific output, and a proof that he used a large workshop, that he received payment at Wittenberg in 1533 for "60 pairs of portraits of the elector and his blood brother" on one solar day.^[3] Inevitably the quality of such works is variable.

Religious subjects [edit]

Cranach'due south religious subjects reflect the evolution of the Protestant Reformation, and its attitudes to religious images. In his early career, he painted several Madonnas; his starting time woodcut (1505) represents the Virgin and three saints in prayer earlier a crucifix. Subsequently on he painted the marriage of St. Catherine, a series of martyrdoms, and scenes from the Passion.^[3]

After 1517 he occasionally illustrated the erstwhile subjects, but he also gave expression to some of the thoughts of the Reformers, although his portraits of reformers were more common than paintings of religious scenes. In a picture of 1518, where a dying man offers "his soul to God, his body to globe, and his worldly goods to his relations", the soul rises to meet the Trinity in heaven, and salvation is conspicuously shown to depend on faith and non on good works.^[3]

Other works of this period deal with sin and divine grace. One shows Adam sitting between John the Baptist and a prophet at the foot of a tree. To the left God produces the tables of the constabulary, Adam and Eve taste the forbidden fruit, the ophidian raises its caput, and punishment manifests in the shape of decease and the realm of Satan. To the correct, the Formulation, Crucifixion and Resurrection symbolize redemption, and this is duly impressed on Adam past John the Baptist. There are 2 examples of this composition in the galleries of Gotha and Prague, both of them dated 1529.^[3] His workshop made an altarpiece with a Crucifixion scene in the centre which is at present in the Kreuzkirche, Hanover.

Towards the stop of his life, after Luther'south initial hostility to large public religious images had softened, Cranach painted a number of "Lutheran altarpieces" of the Last Supper and other subjects, in which Christ was shown in a traditional manner, including a halo, but the apostles, without halos, were portraits of leading reformers. He also produced a number of violent anti-Cosmic and anti-Papacy propaganda prints in a cruder style. His best known work in this vein was a series of prints for the pamphlet Passional Christi und Antichristi,^[8] where scenes from the Passion of Christ were matched past a print mocking practices of the Catholic clergy, and then that Christ driving the money-changers from the Temple was matched by the Pope, or Antichrist, signing indulgences over a table spread with greenbacks (see gallery below). Some of the prints were echoed by paintings, such as his Adoration of the Shepherds (c. 1517).

One of his final works is the altarpiece, completed after his decease past Lucas Cranach the Younger in 1555, for the Stadtkirche (metropolis church) at Weimar. The iconography is original and unusual: Christ is shown twice, to the left trampling on Death and Satan, to the right crucified, with blood flowing from the lance wound. John the Baptist points to the suffering Christ, whilst the claret-stream falls on the head of a portrait of Cranach, and Luther reads from his book the words, "The blood of Christ cleanseth from all sin."^[3]

Madonna under the fir tree, 1510, Archdiocesan Museum, Wrocław
The Birth of John the Baptist, 1518
Baby Jesus and John the Baptist as child
Allegory of Law and Grace, c. 1529

Mythological scenes [edit]

Cranach was equally successful in a series of paintings of mythological scenes which nearly always feature at least 1 slim female figure, naked but for a transparent pall or a large hat.

These are by and large in narrow upright formats; examples are several of Venus, alone or with Cupid, who has sometimes stolen a honeycomb, and complains to Venus that he has been stung by a bee (Weimar, 1530; Berlin, 1534). Other such subjects are the 3 Graces, Diana with Apollo, shooting a bow, and Hercules sitting at the spinning-bicycle mocked by Omphale and her maids.^[iii] A similar arroyo was taken with the biblical subjects of Salome and Adam and Eve. He and his workshop also painted more than sixty versions of Lucretia, the self-stabbing infidel heroine whose death sparked the Roman Republic.

Venus and Cupid, 1529
Venus and Amor, 1530
Venus with Cupid stealing dear, 1531
Venus with Cupid, 1531
Sentence of Paris (1528)

The Fountain of Youth (Der Jungbrunnen), 1546

These subjects were produced early on in his career, when they show Italian influences including that of Jacopo de' Barberi, who was at the courtroom of Saxony for a period up to 1505. They so become rare until after the expiry of Frederick the Wise. The later nudes are in a distinctive way which abandons Italian influence for a revival of Late Gothic style, with pocket-size heads, narrow shoulders, loftier breasts and waists. The poses become more than frankly seductive and even exhibitionist.^[ten]

Humour and pathos are combined at times in pictures such every bit Jealousy (Augsburg, 1527; Vienna, 1530), where women and children are huddled into groups as they scout the strife of men wildly fighting around them. A lost canvass of 1545 is said to evidence hares catching and roasting hunters. In 1546, possibly under Italian influence, Cranach composed the Fons Juventutis (The Fountain of Youth), executed by his son, a picture in which older women are seen entering a Renaissance fountain, and exiting information technology transformed into youthful beauties.^[3]

Paintings [edit]

Portraits [edit]

Duke Henry the Pious, 1514

Portrait of a Saxon Prince (Maybe Johann, married man of Elizabeth of Hesse), c. 1517
Portrait of a Saxon Princess (maybe George of Saxony'south girl-in-police Elizabeth of Hesse), c. 1517
John Frederick I, 1531
Johannes Cuspinian's wife, 1502

Religion, mythology, apologue [edit]

Samson'southward Fight with the Lion, 1525
Phyllis and Aristotle, 1530
Saint Jerome in His Study, 1526

Looted Cranachs [edit]

The Nazis had a particular affection for Cranach's work and looted many paintings during the Third Reich.^[xi] This has led to claims for restitution, notably from Jewish collectors who were persecuted or looted by the Nazis. The Nazis looted Cranach's Portrait of John Frederick I, Elector of Saxony (effectually 1530s) from Jewish art collector Fritz Gutmann before murdering him but the painting was recovered by Gutmann's grandson Simon Goodman 80 years afterward after decades of searching.^[12] Cranach's "Cupid Complaining to Venus" passed through in Hitler's personal collection, causing the National Gallery to enquiry its history, suspecting that it may have been looted.^[13] ^[14] The diptych Adam and Eve by Lucas Cranach the Elder has been the focus of a legal dispute betwixt the heirs of the sometime owner, Dutch art collector Jacques Goudstikker, and the Norton Simon museum in California.^[15] In 1999, the Commission for Art Recovery of the World Jewish Congress notified the Due north Carolina Museum of Art that its prized Cranach Madonna and Child had been looted by Nazis from the Jewish Viennese art collector Philipp von Gomperz.^[16] ^[17] On xx October 2000 a Budapest court ruled that a Cranach and other paintings claimed past the granddaughter of famous Hungarian Jewish fine art collector Baron Herzog that were looted by Nazis with the Hungarian fiscal police should exist returned to her.^[18] In 2012 the heirs of Rosa and Jakob Oppenheimer submitted a claim to the National Gallery of Republic of ireland for a Cranach painting of Saint Christopher. The museum hired a individual provenance researcher, Laurie Stein, to investigate the circumstance of the sale in 1934, and she concluded that the Cranach had not been sold under duress past the Jewish owners.^[19] In April 2021 Cranach'southward "The Resurrection" was sold at auction following a settlement between the heirs of Holocaust victim Margarete Eisenmann and the art dealer Eugene Thaw.^[20] After being looted, the Cranach had been consigned to Sothebys by Hans Lange and passed through Hugo Perls and Knoedler Galleries before being acquired by Eugene Thaw.^[21] ^[22] Nigh of the lawsuits terminal many years and go through several appeals in different courts.

References [edit]

^ ^a ^b The Jack and Belle Linsky Collection in the Metropolitan Museum of Fine art. New York, NY: Metropolitan Museum of Art. 1984. p. 101. ISBN978-0-87099370-1. Lucas Cranach the Elder was mayhap the virtually successful German language creative person of his fourth dimension.
^ ^a ^b ^c ^d ^eastward ^f "About Lucas Cranach". Cranach Digital Annal. Archived from the original on 15 April 2013. Retrieved 25 Jan 2012.
^ ^a ^b ^c ^d ^{due east} ^f ¹⁰⁰⁰ ^h ⁱ ^j ^g ^l ^m ⁿ ^o ^p ^q ^r ^s ^t ^u ⁵ ^w Ane or more of the preceding sentences incorporates text from a publication now in the public domain:Chisholm, Hugh, ed. (1911). "Cranach, Lucas". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge Academy Printing. p. 364.
^ Cranach plaque, Marktplatz, Wittenberg
^ "Gallery Label for Crucifixion".
^ "Commemorations". lcms.org.
^ Lutheranism 101 edited past Scot A. Kinnaman, CPH, 2010
^ Passional Christi und Antichristi Full view on Google Books
^ Zarling, Michael. "Justified in Jesus–the Weimar Altarpiece past Lucas Cranach – Bread for Beggars". Retrieved 2018-12-05 .
^ Snyder, James (1985). Northern Renaissance Fine art. Harry N. Abrams. p. 383. ISBN0-xiii-623596-4.
^ "Purloined pictures: the Nazi leaders' love of Cranach". www.lootedart.com . Retrieved 2021-01-x . {{cite web}}: CS1 maint: url-status (link)
^ Hinckley, Catherine. "Cranach portrait stolen almost lxxx years ago returns to heirs of Jewish banker". www.lootedart.com. The Art Newspaper. Archived from the original on 1 May 2018. Retrieved 2021-01-ten .
^ "Gallery seeks info on work once owned by Hitler". www.lootedart.com. Archived from the original on 24 November 2010. Retrieved 2021-01-10 .
^ "National Gallery admits that masterwork may be Nazi boodle". www.lootedart.com. The Times. Archived from the original on 24 November 2010. Retrieved 2021-01-10 .
^ "The Boxing Over the Norton Simon Museum's Nazi-Looted Cranach Paintings Isn't Over as Lawyers File for a Rehearing". www.lootedart.com. Archived from the original on 18 April 2019. Retrieved 2021-01-ten .
^ "A Madonna stolen by Nazis takes a trip domicile". world wide web.lootedart.com. Archived from the original on 24 November 2010. Retrieved 2021-01-x .
^ "HCPO Gallery: Dr. Philip von Gomperz - biography". Section of Fiscal Services. Archived from the original on 24 February 2021. Retrieved 2021-02-26 .
^ "Martha Nierenberg'southward claim for artworks from the Herzog Drove". www.lootedart.com. Archived from the original on xiv March 2017. Retrieved 2021-01-x .
^ "National Gallery of Ireland Provenance Inquiry October 2017: ix October 2017: Restitution claims for three paintings, two by the heirs of Rosa and Jakob Oppenheimer of Berlin, owners of the Margraf grouping, and one by the heirs of Alfred Weinberger". world wide web.lootedart.com. Archived from the original on 2 May 2019. Retrieved 2021-01-10 .
^ Ahn, Cabelle (2021-05-xviii). "Old Masters Today #3". ars longa . Retrieved 2022-02-17 .
^ Villa, Angelica (2021-04-sixteen). "Cranach Painting Sold Under Duress During Globe War Two to Be Auctioned as Role of Legal Settlement". ARTnews.com . Retrieved 2022-02-17 .
^ "CRANACH DIGITAL ARCHIVE". lucascranach.org . Retrieved 2022-02-17 .

External links [edit]

External video

Cranach's Adam and Eve, Smarthistory
Lucas Cranach the Elderberry's Cupid complaining to Venus, Smarthistory
Lucas Cranach the Elderberry: Cupid Lament to Venus, National Gallery (London)
Lucas Cranach's Judith with the Caput of Holofernes, Smarthistory

Media related to Lucas Cranach (I) at Wikimedia Eatables
cranach.cyberspace Containing more than 15000 images and 6000 research documents, collaborative project by about sixty international art historians
Cranach Digital Annal (cda) Containing images and research data, collaborative projection by 26 international galleries
Lucas Cranach the Elder at Curlie
Fifteenth- to eighteenth-century European paintings: France, Primal Europe, the Netherlands, Spain, and Great Uk, a collection itemize fully available online equally a PDF, which contains material on Lucas Cranach the Elder (cat. no. ix)
Prints & People: A Social History of Printed Pictures, an exhibition itemize from The Metropolitan Museum of Art (fully available online as PDF), which contains fabric on Lucas Cranach the Elder (run into alphabetize)
Discussion of Portrait of Martin Luther by Janina Ramirez and Peter Stanford: Art Detective Podcast, 26 April 2017
Cranach map of Palestine, 1508 or 1515. Eran Laor Cartographic Collection, the National Library of Israel
Joshua P. Waterman, "Portrait of Joachim Two of Brandenburg by Lucas Cranach the Elder (cat. 739)," in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication.

levinebullithein.blogspot.com

Source: https://en.wikipedia.org/wiki/Lucas_Cranach_the_Elder

Primitive Folk Art Painting G Wittenberg

Early life [edit]

Career [edit]

Veneration [edit]

Works and art [edit]

Religious subjects [edit]

Mythological scenes [edit]

Paintings [edit]

Portraits [edit]

Religion, mythology, apologue [edit]

Looted Cranachs [edit]

References [edit]

Further reading [edit]

External links [edit]

0 Response to "Primitive Folk Art Painting G Wittenberg"

إرسال تعليق

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel