Feb 19, 2025
Lucas Cranach (German, 1472–1553)
Portrait of a praying woman (front) or St. Catherine (back), 1508
Mixed media on oak wood, 43 x 33 cm
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Lucas Cranach (German, 1472–1553)
Portrait of a praying woman (front) or St. Catherine (back), 1508
Mixed media on oak wood, 43 x 33 cm
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Woman with a carnation, formerly attributed to Lucas Cranach the Elder (1472-1553). Musée Anne de Beaujeu, Moulins.
Black. Nothing but black. Then skin - pale, almost phosphorescent, rising out of the void like something surfacing from dark water. A narrow body, stretched tall by a panel so slim it feels more like a doorframe than a painting. Corkscrew curls of copper-blonde hair spiral down past one shoulder, catching whatever light exists in this airless space. The left hand drifts across the body. The right hand extends outward, palm up, holding a small reddish-gold fruit. An apple, just sitting there in her fingers like a question no one's answered yet. To her left: bark. Deep-furrowed, scaly, almost obscenely textured compared to the smooth porcelain of her skin. A tree trunk that looks older than anything else in the frame. And coiling around an upper branch - a small head, watchful, angled downward. A serpent, though you almost miss it against the dark. Lucas Cranach the Elder painted this Eve on the outer wing of an altar. Oil on wood. The ground beneath her feet is just pebbles and dust. No garden. No paradise. No Adam. Just a woman, a tree, a snake, and all that black pressing in from every direction. The outer wing - meaning this was the side facing the congregation on ordinary days, when the altar stayed closed. The nude body of Eve, right there in the open, while the sacred interior remained hidden. The Kunsthistorisches Museum keeps it in Vienna, where it hangs without apology. Quelle: meisterdrucke.com
Silesian Cranachiana: Allegory of the Reformed Church by Silesian follower of Lucas Cranach the Younger, ca. 1570, Archdiocesan Museum in Wrocław (tempera and oil on panel).
The painting depicts Martin Luther preaching and Philipp Melanchthon hearing confession. The figures include contemporary nobility, including the von Zedlitz family. The background contains Passion and Paschal elements: rocks with crosses and the resurrection of Christ (after "Führer durch das Erzbischöfl. Diözesanmuseum in Breslau" by Alfons Nowack, p. 55, item 197). The painter was undoubtedly inspired by the works of Cranach to create the effigies of the reformers.
The painting was originally located in a church in Nowy Kościół in the Złotoryja district (Nova ecclesia, Neukirch bei Falkenhain, Kr. Schönau). The village likely dates back to the Middle Ages and was the seat of the von Zedlitz family, who owned a castle there. In the 16th century, Nowy Kościół was the center of Lutheranism in Silesia. The parish of Neukirch was among the first to embrace the Reformation. On September 12, 1518, Georg von Zedlitz appointed Melchior Hoffmann (or Hofmann ca. 1495 - ca. 1543), a disciple of the reformer Martin Luther and probably the first Lutheran preacher in Silesia, as head of the local church.
Browse >>> Renaissance Poland-Lithuania - The Realm of Venus - Art in Poland (Artinpl) >>> for more ...
© Marcin Latka
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Lucas Cranach the Elder — Portrait of Johann Friedrich the Magnanimous. 1509. detail
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lucas cranach the elder, fountain of youth, 1546
Je ne sais pas pourquoi ce motif (ici, Salomé avec la tête de Saint Jean Baptiste (d'après Cranach l'ancien)) revient de temps à autre dans mon travail figuratif (un psychanalyste aurait du pain (coupé) sur la planche) Acrylique et crayon sur papier 8,3 x 5,8 inches / 21 x 14,8 cm
Portrait of Anne of Denmark, Electress consort of Saxony by Lucas Cranach the Younger, c. 1565
