Cranach - An Altarpiece from St. Moritz Church [predella]: Veronica
An Altarpiece from St. Moritz Church [predella]: Veronica
Master of the Mittenwald Retable
St. Moritzkirche Mittenwalde
17.10.2021 - 21:07
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Painting:
CDA ID / Inventory NumberDE_MKM_NONE-MKM001E
Persistent Linkhttps://lucascranach.org/DE_MKM_NONE-MKM001E
FR (1978) No.FR047B
Title:
An Altarpiece from St. Moritz Church [predella]: Veronica[cda 2015]
Attribution:
Master of the Mittenwald Retable [Heydenreich 2016, 143]
Anonymous Master from the Cranach Workshop [Heydenreich, cda 2015]
Lucas Cranach the Elder (and Workshop)[Friedländer, Rosenberg 1979, 79, No. 47B]
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Dating:
1514[dated]
Owner / Repository / Location:
OwnerEvangelische Kirchengemeinde Mittenwalde
RepositorySt. Moritzkirche Mittenwalde
LocationMittenwalde
Dimensions:
Dimensions of painted surface: 55.4 x 150.4 cm
[Documentation D. Jakob 2014]
Support:
Painting on pine wood
[Documentation D. Jakob 2014]
Signature / Date:
- dated on the moveable wings
[Documentation D. Jakob 2014]
Description:
Two angels hold the cloth, that Veronica gave to Christ as he carried the cross and which bears the image of Christ's face. Shown here with the cown of thorns.
Provenance:
- 1514 donated by the Electress Elisabeth of Brandenburg
[Friedländer, Rosenberg 1979, 79, No. 47B]
Sources / Publications:
Reference on PageCatalogue NumberFigure/Plate
Heydenreich 2017 A76-77
Heydenreich 2016
Knüvener 2011227-228
Müller 2008 A
Cardenas, Schumann 2004
Friedländer, Rosenberg 197979No. 47B
Interpretation / History / Discussion:
Like the altarpiece in Neustadt the winged altarpiece in Mittenwalde exhibits a fairly puristic rendition of the Cranach style from this period, but was probably executed with some workshop participation.
[Friedländer, Rosenberg 1979, 79, No. 47B]

The artist who executed the Mittenwald Retable was trained in Cranach’s workshop and made use of his templates and preparatory material. He also drew on Dürer prints as inspiration for his compositions. However, a technical examination of this work does not suggest that it was produced in the workshop. The altarpiece was commissioned by Elizabeth of Brandenburg and was probably originally intended for a location in Berlin. The examination results support the theory that it was created in a workshop based in Berlin. A relationship with the Bernau retable should be explored within this context. It would also be of interest to discover whether a workshop in Berlin closely associated with Cranach’s workshop in Wittenberg. Numerous similarities in technique and style with a work in a private collection in Oslo (http://lucascranach.org/PRIVATE_NONE-P142a) suggest that this retable, which depicts the Adoration was painted by the same artist two years later. As Friedrich III is shown on this painting future research should attempt to discover more about the commission and explore the relationship between the Master of the Mittenwald Retable and the electors of Saxony.

[Heydenreich 2016, 149-150]
Material / Technique:
  • Date: 01.05.2014
  • Scientific analysis
  • Identification of wood species / Dendrochronology
  • 8.01 Support
  • pine wood
    • analysed by: Dr. Thilo Schöfbeck
    • Date: 07. 2014
    • Technical examination / Scientific analysis
    • Infrared reflectography
    • Master of the Mittenwald Retable - St. Moritzkirche Mittenwalde - An Altarpiece from St. Moritz Church [predella]: Veronica - Infrared ImagesMaster of the Mittenwald Retable - St. Moritzkirche Mittenwalde - An Altarpiece from St. Moritz Church [predella]: Veronica - Infrared Images
    • 8.03 Underdrawing
    • DESCRIPTION

      Tools/Material:
      - fluid black medium, brush

      Type/Ductus:
      - relatively freehand underdrawing
      - thin lines
      - occasional hatching-strokes

      Function:
      - relatively binding for the final painted version; lines delineate contours and define facial features; occasional representation of volume with hatching-strokes

      Deviatations:
      - minor alterations made during the painting process to clearly define form; small changes


      INTERPRETATION

      Attribution:
      - an assistant in the Cranach workshop

      [Sandner, Smith-Contini, Heydenreich, cda 2015]
      • photographed by: Gunnar Heydenreich
      • photographed by: Ingo Sandner
      • Date: 05. 2014
      • Technical examination / Scientific analysis
      • UV-light photography
      • Master of the Mittenwald Retable - St. Moritzkirche Mittenwalde - An Altarpiece from St. Moritz Church [predella]: Veronica - Conservation
      • 8.07
          • Date: 2009
          • Technical examination / Scientific analysis
          • Stereomicroscopy
          • Infrared reflectography
          • 8.02 Ground and Imprimatura
          • - thin groound application (c. 1 mm), a barb is present along the edges near the frame
            - analysis was not carried out to establish the composition of the ground
            - a light umbra coloured imprimatura is visible glazed areas of the painting
          • 8.03 Underdrawing
          • - an underdrawing executed with a brush and black ink (visible in IR)
            - the painted version diviates somewhat from the underdrawing
          • 8.04 Paint Layers and Gilding
          • - glazed to opaque paint application, not gilded
            [Documentation Dirk Jacob 2014]
          • 7.07
          • - pine wood, three planks with numerous knots
            • examined by: Grit Jehmlich
            History of Restoration:
            • Date: 2012 - 2014
            • - the extensive overpaint from 1861 was removed from the panels
            • conservation treatment by: Grit Jehmlich
            • written by: Dirk Jacob
            • Date: 1861 - 1862
            • - restoration of the retable and the paintings (extensively overpainted)
              [Documentation Dirk Jacob 2014]
              • Date:
              • - minor conservation treatment in the 20th century
                [Documentation Dirk Jacob 2014]