Cranach - The Stigmatisation of St Francis
The Stigmatisation of St Francis
Lucas Cranach the Elder
The Paintings Gallery of the Academy of Fine Arts Vienna
21.08.2019 - 05:29
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Painting:
CDA ID / Inventory NumberAT_OGBW_1273
Persistent Linkhttp://lucascranach.org/AT_OGBW_1273
FR (1978) No.FR003
Title:
The Stigmatisation of St Francis[Exhib. Cat. Frankfurt 2007, 122, No. 5]
Attribution:
Lucas Cranach the Elder [Österreichische Galerie Belvedere, revised 2017] [Exhib. Cat. Frankfurt 2007, 122, No. 4] [Friedländer, Rosenberg 1979, 66, No. 002]
Dating:
about 1502 - 1503[Exhib. Cat. Frankfurt 2007, 122, No. 5] [Österreichische Galerie Belvedere, revised 2017]
after 1500'Shortly after 1500' [Friedländer, Rosenberg 1979, 66, No. 003]
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Owner / Repository / Location:
OwnerÖsterreichische Galerie Belvedere
RepositoryThe Paintings Gallery of the Academy of Fine Arts Vienna
LocationVienna
Dimensions:
Dimensions of support: 86.7 x 47.4 x 0.8 cm Dimensions of painted surface: 86.7 x 46 cm Dimensions including frame: 96.8 x 56.8 x 6.7 cm [Österreichische Galerie Belvedere, revised 2017]
Support:
Painting on spruce wood [Österreichische Galerie Belvedere, revised 2017] [Exhib. Cat. Frankfurt 2007, 122, No. 5]
Signature / Date:
None
Inscriptions, Marks, Labels, Seals:
- on the reverse of the panel: 1 label on the upper cross-member 2 labels between the lower and middle cross-members inscription 'AKADEMIE' above the lower cross-member [Österreichische Galerie Belvedere, revised 2017]
Description:
The painting depicts St Francis, who according to the legend received the marks of Christ's wounds in 1224 when a seraph appeared while he prayed on Mount Averna in the presence of a sleeping fellow friar. [see Exhib. Cat. Frankfurt 2007, 122, No. 5]
Provenance:
- collection of Ladislaus Ritter von Viktor in Lemberg, donated 1912 to the Österreichischen Galerie
[Österreichische Galerie Belvedere, revised 2017]
[Exhib. Cat. Frankfurt 2007, 122, No. 5]
Exhibitions:
Vienna 1972
Basel 1974, Cat.-No. 86
Frankfurt/London 2007/2008, Cat.-No. 5
Sources / Publications:
Reference on PageCatalogue NumberFigure/Plate
Exhib. Cat. Frankfurt 2007122No. 5
Kolind Poulsen 2003133, 134Fig. 7
Friedländer, Rosenberg 197966No. 3Fig. 3
Exhib. Cat. Basel 1974No. 86
Schade 1974Figs. 10, 11
Exhib. Cat. Vienna 19725ff.
Friedländer, Rosenberg 1932No. 3
Grimschitz 1921
Material / Technique:
  • Date: 1995
  • Technical examination / Scientific analysis
  • Infrared reflectography
  • Lucas Cranach the Elder - The Paintings Gallery of the Academy of Fine Arts Vienna - The Stigmatisation of St Francis - Infrared ImagesLucas Cranach the Elder - The Paintings Gallery of the Academy of Fine Arts Vienna - The Stigmatisation of St Francis - Infrared Images
  • Underdrawing
  • DESCRIPTION

    Tools/Material:
    - fluid, black medium, brush

    Type/Ductus:
    - freehand underdrawing

    Function:
    - only partially binding for the final painted version; broader lines delineate the main contours whereas the details and facial features are defined with a few thinner lines; no representation of volume with hatching-strokes

    Deviations:
    - corrections to forms were made during the painting process

    INTERPRETATION

    Attribution:
    - Lucas Cranach the Elder

    [Sandner, Smith-Contini, Heydenreich, cda 2017]
    • photographed by: Österreichische Galerie Belvedere
    • Date:
    • Technical examination / Scientific analysis
    • Infrared reflectography
    • X-radiography
    • UV-light photography
    • Stereomicroscopy
    • Underdrawing
    • - there is an underdrawing, which was probably executed with a brush
      - it is visible to the naked eye in areas where the paint layers have become more transparent over time.
    • Paint Layers and Gilding
    • - the paint was applied with a brush in a number of both glazed and thick, opaque layers. The highlights were added last.
      - the haloes of the saint and the angels were gilded over a red bole; the saint’s halo is decoratively enriched with two circular grooves
    • Framing
    • - the frame is new, glazed and protected on the reverse with plexiglas
      [Österreichische Galerie Belvedere, revised 2017]
    • Ground and Imprimatura
    • - smooth, white chalk/glue ground
      - despite the fact that the panel has been trimmed there is a slightly raised barbe is evident at both the left and right hand sides
      - an imprimatura tinted with pale ochre (sky) and dark ochre (landscape and flesh paint) is visible beneath the more transparent paint layers
    • Support
    • - spruce wood, at least 3 knots are visible
      - 2 vertically aligned planks, butt-joined and planed: Plank 1: 86.7 x 41.9 (41.3 cm at the bottom) x 0.8 cm; Plank 2: 86.7 x 5.5 (6.1 cm at the bottom) x 0.8 cm
      - three tapered moveable cross-members slide into the panel from the left.
      - exit holes from previously active woodworm are visible on the right side of the panel
      - plank 2 has been cropped
      - splits are visible at the centre of the top edge, here a rectangular block was inserted and glued
      - at the left edge there are marks from a previous mounting system
        Condition Reports:
        • Date: 21.12.2017
        • - the support exhibits a vertical washboard effect. - horizontal splits have developed due to tension. Exit holes are visible on the right side of the panel, but the woodworm is no longer active. - the paint is abraded down to the imprimatura in many areas. Drying cracks and wrinkling have created small islands of paint in the darker areas. These stand out optically from the surrounding paint. - the haloes are abraded and the bole is visible in places. [Österreichische Galerie Belvedere, revised 2017]
          History of Restoration:
          • Date:
          • The panel was cropped at the top and bottom edges as well as at the right side. There are numerous old retouches particularly in the abraded areas. A natural resin varnish was applied recently. [Österreichische Galerie Belvedere, revised 2017]