Cranach - Christ and the Good Samaritan at the Well
Christ and the Good Samaritan at the Well
Lucas Cranach the Elder (?)
Fränkische Galerie, Kronach
20.09.2017 - 10:54
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Painting:
CDA ID / Inventory NumberDE_FGK_NONE
Persistent Linkhttp://lucascranach.org/DE_FGK_NONE
FR (1978) No.FR366C
Title:
Christ and the Good Samaritan at the Well[CDA 2011]
Attribution:
Lucas Cranach the Elder (?)[Cat. Kronach 2014, No. 100]
Lucas Cranach the Elder and Workshop[Fränkische Galerie Kronach, revised 2011]
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Dating:
about 1552[Fränkische Galerie Kronach, revised 2011] [Exhib. Cat. Kronach 1994, No. 215]
Owner / Repository / Location:
OwnerVerein '1000 Jahre Kronach'
RepositoryFränkische Galerie, Kronach
LocationKronach
Dimensions:
Dimensions of support: 88 x 171 cm [Heydenreich, CDA 2011]
Support:
Canvas [Fränkische Galerie Kronach, revised 2011]
Signature / Date:
Artist's insignia on the left edge of the well: winged serpent with dropped wings; in black paint [CDA 2011]
Inscriptions, Marks, Labels, Seals:
- top edge, centre: 'ABER ES KOMT DIE ZEIT VND IST SCHON IETZT DASZ DIE WAHRHAFTIGEN (/) ANBETER WERDEN EN VATER ANBETEN IM GEIST VND IN DER(/) WAHRHEIT IOHANN AM IIII'
Description:
Christ meeting the Samaritan at the well is shown at the left side in the foreground of the horizontally aligned rectangular painting. Behind the gates of the town of Sychar are visible. A group of apostles approaches in the middleground, they had gone into the town foraging for food. Further in the distance the Samaritan can be recognized again by the red dress she is wearing with the orange sleeves. She had recognized Christ at the well as the Messiah and now leads the citizens of Sycar to him. In addition the burnt offering mentioned in St John's gospel is visible on a hill in the background. [Görres, cda 2016]
Provenance:
On permanent loan to the town of Kronach from the Verein '1000 Jahre Kronach'
[Fränkische Galerie Kronach, revised 2011]
Exhibitions:
Kronach 1994, No. 215
Düsseldorf 2017, No. 161
Sources / Publications:
Reference on PageCatalogue NumberFigure/Plate
Exhib. Cat. Düsseldorf 2017263No. 161
Cat. Kronach 2014262-265100
Heydenreich 200835
Heydenreich 2002432-438
Friedländer, Rosenberg 1979143No. 366C
Exhib. Cat. Basel 1974519-520, 621No. 369
Material / Technique:
  • Date: 2011
  • Technical Examination
  • Paint Layers and Gilding
  • - initial paint layer carried out in grisaille and then subsequently modulated in colour
  • Framing
  • - the original frame has not been preserved
      • Date: 01.09.2010
      • Technical examination / Scientific analysis
      • Infrared reflectography
      • Lucas Cranach the Elder (?) - Fränkische Galerie, Kronach - Christ and the Good Samaritan at the Well - Infrared Images
      • Underdrawing
      • - an underdrawing is not readily visible
        [Smith, Sandner, Heydenreich, cda 2012]
        • photographed by: Ingo Sandner
        • photographed by: Gunnar Heydenreich
        • Date: 1994
        • Technical examination / Scientific analysis
        • Micro-sampling / cross-sections
        • Instrumental material analysis
        • Incident light microscopy; UV Fluorescence; Staining tests; EDX:

          Cross-section No.: EP 088
          Brief description of paint: greenish grey ground
          Sample location: bottom left corner
          Sample No.: 112
          Date: 1552 (about)
          Incident light microscopy: yes
          UV Fluorescence: yes
          Staining test for protein: yes with Fast Green: negative result
          Staining test photograph: no

          Observations:
          5. yellowish and transparent layer of overpaint
          4. grey layer with black, red and blue pigments
          3. white interlayer?
          2. whitish-yellowish semi-transparent layer containing grains of starch (staining test with a potassium iodide solution) and a white extender (Calcium carbonate?), does not fluoresce in UV light: a whitish preparatory layer which fills the pores (bound with paste)
          1. thin semi-transparent layer, not pigmented: paste under the preparatory layer, black grains of starch were visible after it had been stained with a potassium iodide solution
          0- canvas

          Commentary:
          The canvas has been impregnated with a layer of paste over which a preparatory layer with a white extender and also containing starch was applied, filling the pores. Above this there is a white or grey underpaint and the green paint layer.

          Cross-section No.: EP 089
          Brief description of paint: Christ’s red robe
          Sample location: Christ’s red robe, left on the sleeve
          Sample No.: 113
          Date: 1552 (about)
          Incident light microscopy: yes
          UV Fluorescence: yes
          EDX: yes

          Observations:
          6. varnish
          5. pale red layer, appears yellowish in UV, splintery inclusions not fluorescing in UV [EDX: Si!!, Co, Fe, K, As? – red lake glaze and smalt]
          4. intenser red layer, splintery inclusions, fluorescing red in UV [EDX: Al!!, Pb, K, Ca, Si red lake glaze on an aluminiumhydroxid substrate?]
          3. yellowish glassy indifferent layer, fluorescing yellowish in UV: interlayer
          2. light grey layer, black and white pigments: grisaille underpaint EDX: Ca!!, Pb? – chalk and some lead white?
          1. whitish semi-transparent layer: preparatory layer, containing starch (stained with a potassium iodide solution), greater proportion of starch towards the bottom EDX: Ca!!, Pb? – chalk and some lead white?
          0. remnants of canvas

          Commentary:
          There is a layer of starch paste on the canvas, over which starch paste containing an extender was applied. A grisaille underpaint followed, then an interlayer of medium and subsequently an intense red lake layer modulated with a slightly less intense red lake (clearly two different red lakes)
          • written by: Gunnar Heydenreich
          • Date: 1994
          • Technical Examination
          • Support
          • - canvas (84 cm x 171 cm), plain weave, 19 – 20 threads per cm², no visible knots
            - the warp yarn runs horizontally, the weft yarn runs vertically and are more distorted (prominant cusping)
            • written by: Gunnar Heydenreich
            Condition Reports:
            • Date: 1994
            • Support: - the original tacking margins have not been preserved - a strip of canvas c. 4 cm wide was attached at a later stage along the top edge (original reserved canvas 84 x 171 cm), and presumably replaces an area now lost - there is a horizontal tear approx. 171 cm long (c. 69 cm from the bottom of the image) - a vertical tear approx. 73 cm long (from the bottom edge, c. 32-40 cm from the left) - two canvas inserts: c. 4 x 4 cm shaped like a rhombus (in an area 37.5 cm from the top, 84.5 cm from the left), below this there is a further insert c. 5.5 x 4 cm with an irregular shape - the original canvas has three linings Painted surface: - the surface is visibly worn, there is paint loss particularly where the threads cross [Heydenreich, unpublished report, 1994]
              History of Restoration:
              • Date: 01.04.1994
              • Conservation treatment by Dr. Brachert, Nuremberg: - overpaint removed, losses retouched, the tonality of the addition was lightened with retouches [Heydenreich, unpublished examination report, 1994]
              • conservation treatment by: Thomas Brachert
              • Date: 1906
              • - the strip of canvas (4 cm wide) at the top was added after 1906 (see Katalog der Sammlung Oppolzer, 1906) [Heydenreich, unpublished examination report, 1994]