Cranach - Christ and the Good Samaritan
Christ and the Good Samaritan
Lucas Cranach the Elder
Museum der bildenden Künste, Leipzig
22.09.2019 - 03:43
Choose objects with for comparison
Painting:
CDA ID / Inventory NumberDE_MdbKL_41
Persistent Linkhttp://lucascranach.org/DE_MdbKL_41
FR (1978) No.FR217D
Title:
Christ and the Good Samaritan[CDA 2011]
Attribution:
Lucas Cranach the Elder [Heiland, Exhib Cat. Leipzig, Heidelberg 1997, 58]
Workshop Lucas Cranach the Elder [Friedländer, Rosenberg 1979, 115, No. 217D]
Hide content...
Dating:
about 1525 - 1537[Friedländer, Rosenberg 1979, 115, No. 217D]
Owner / Repository / Location:
OwnerMuseum der bildenden Künste, Leipzig
RepositoryMuseum der bildenden Künste, Leipzig
LocationLeipzig
Dimensions:
Dimensions of support: 157 x 105 cm [Heiland, Exhib Cat. Leipzig, Heidelberg 1997, 58] Dimensions including frame: 178.5 x 127 x 6 cm; 156.0 x 105.0 x 1.6-1.8 cm [Rüdiger Beck, Museum der bildenden Künste, revised 11.06.2014]
Support:
Painting on lime wood [Klein, Report 2013] Wood [Heiland, Exhib Cat. Leipzig, Heidelberg 1997, 58]
Signature / Date:
Artist's insignia on the left edge of the stone flag under Christ's foot: winged serpent with elevated wings
Description:
The painting is divided into two parts. Hans Körner is depicted kneeling with his family in the bottom quarter of the painting. The family coats-of-arms are illustrated in the foreground. The upper part of the painting shows Christ meeting the Good Samaritan at the well in accordance with the description in St John's Gospel (4, 1-30). [Heiland, Exhib Cat. Leipzig, Heidelberg 1997, 58]
Provenance:
- Epitaph for Hans Körner in the Nikolaikirche, Leipzig
- 1815 rediscovered in the Nikolaikirche, Leipzig

[Heiland, Exhib Cat. Leipzig, Heidelberg 1997, 58]
Exhibitions:
Weimar, Wittenberg 1953, No. 61
Basel 1974, Bd. I, 520 under No. 369
Karlsruhe 1991, No. 15, Fig. 57
Kronach 1994, 384, No. 215
Leipzig, Heidelberg 1997, No. 12, p. 58, Fig. p. 59
Sources / Publications:
Reference on PageCatalogue NumberFigure/Plate
Exhib. Cat. Leipzig 199758No. 12Fig. p. 59
Cat. Leipzig 199534No. 41
Magirius et al. 1995454, 455 (Bd. 1)No. 51
Exhib. Cat. Karlsruhe 1991No. 15Fig. 57
Friedländer, Rosenberg 1979113No. 217D
Exhib. Cat. Basel 1974520under No. 369 (Bd. 2)
Lüdecke 1953 B107, 108Fig. 111
Friedländer, Rosenberg 1932179a
Gurlitt 189629Plate IX
Wustmann 18791, 2, 11
Quandt 1815Sp. 992No. 124
Goethe 1815
Stepner 1675No. 457
Material / Technique:
  • Date: 11.06.2014
  • Technical examination / Scientific analysis
  • Identification of wood species / Dendrochronology
  • Stereomicroscopy
  • Lucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - ReverseLucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - AnalysisLucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - Detail ImagesLucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - Detail ImagesLucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - Detail ImagesLucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - Detail ImagesLucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - Detail ImagesLucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - Detail ImagesLucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - Detail ImagesLucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - Detail Images
  • Support
  • - limewood (Tila sp.); identification of wood species by Dr. Peter Klein, 26.10.2013, report from 26.10.13 in documentation file
    - 7 butt-joined vertically aligned planks; widths: I: 9.6 b./5.4 t.; II: 22.2 t./18.8 b.; III: 19.3 b./18.1 t. IV: 13.2 t.11.3 b.; V: 19.0 b./18.3 t.; VI: 15.7 t./12.4 b.; VII: 14.6 b./12.1 t.
    - reverse: no knots were detected in the visible surface of the panel (only c. 30% of the entire panel visible), tangential cut
    - ithe reverse was completely smoothed down when the cradle was applied
    - the joins, knots and growth weaknesses in the wood were reinforced with an applicationof tow. The fibrous material is clearly visibel on two old x-radiographs
    - the edges of the panel are straight with no evidence of a groove
    - the panel has been trimmed along the left and right edges; marks from a tool (probably an axe) are visible along the right edge
    - treatment of damaged areas: at the bottom right, rectangular insert c. 3 x 7 cm, locations: 37 cm from the bottom and 17.5 cm from the right edge; at the bottom left edge, rectangular insert c. 3 x 10 cm, location: 20 cm from the left edge; at the top left in the group of apostles, rectangle c. 30 x 3 x 1 cm, location: 14 cm from the top left edge; knots: in the shoulder and hip of the samaritan, Christ's left thigh; further damages in the surface of the wood: at the right beside the feet of the samaritan and at the left of the well next to the jug
  • Ground and Imprimatura
  • - white ground, probably chalk/glue mixture (not tested)
    - thick ground layer, c. 0.5 mm
    - at the top and the bottom the ground extends to near the edge of the panel. there is no barb where it ends; at the right and left sides the ground extends to the edge of the panel (the edges have either been trimmed or reworked)
    - there is no imprimatura and no incised lines, nor is there any evidence of marks from a tool
  • Underdrawing
  • - very economic underdrawing executed with a brush
    - barely visible under the flesh paint
    - assisting devices were not employed
    - no obvious alterations were made during the painting process
  • Paint Layers and Gilding
  • Figures:
    - the shadows and half-shadows were initially laid in on a white ground with cool greyish-brown washes and modulated with a soft brush application. In the areas of the highlights the white ground remained exposed. After the paint had dried a vermilion/ochre/white admixture was applied wet-in-wet and very delicately, in part scumbled over the greyish-brown layer to created a sort of mother-of-pearl flesh tone. This tone created the half-shadows. The dark brown/grey underpaint remained exposed for the shadows. Highlight were applied employing vermilion/lead white and blended with the wet flesh tones. Finally contours were applied in a brown tone. The hair was intitially laid in with an unmodulated ochre layer and after drying linear highlights and contours were added.
    Robes:
    - opaque underpaint, modulated wet-in-wet, light highlights blended. After drying the shadows were reinforced with glazes, the red robes were completely covered with a glaze and the shadows were applied in darker paint.
    Sky:
    a light blue (an admixture of blue and white) was applied over the white ground. In the upper section a thicker applicationof the same blue paint was employed.
    Areas of grass:
    - an initial dark brown layer was applied, over this a semi-opaque green paint roughly indicates the texture of the grass, finally lines define the leaves and blades of grass.
    Woods (left):
    - blackish-green opaque underpaint, the green foliage was then applied wet-in-wet with linear accents and contour.
    - glazed to opaque application, pastos highlights (particularly in the grassy landscape, the robes and the hair)
    - pointed and flat brushes of different sizes
    - black painted band at the top and bottom of the painting: c. 1-1.5 cm (top) and c. 2-2.5 cm (bottom)
    - discoloured green glazes (brown)
    - no gilding
  • Framing
  • - probably first half of the 19th century; dimensions: 178.5 x 127 x 6 cm; coniferous wood
    - colour: gilded, flat area matt gilding with an attached half-rounded profile, silver gilded with a gold glaze and patina.
    - construction: frame with inlay. the rebate profile is an inlay profile (probably original); mitred joins with a mortise and tenon on the reverse (triangular tongue on all four corners).
    - decoration: flat frame, two parallel half-rounded battens run around the front of the frame crossing at the corners.
    [Museum der bildenden Künste, 11.06.2014]
    • examined by: Rüdiger Beck
    • Date: 01.11.2013
    • Technical examination / Scientific analysis
    • UV-light photography
    • Lucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - UV ImagesLucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - UV Images
      • photographed by: Museum der bildenden Künste, Leipzig
      • Date: 26.10.2013
      • Scientific analysis
      • Identification of wood species / Dendrochronology
      • Support
      • Identification of wood species: lime wood (Tilia sp.)
        • analysed by: Peter Klein
        • Date: 01.06.2010
        • Technical examination / Scientific analysis
        • Infrared reflectography
        • Lucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - Infrared Images
        • Underdrawing
        • DESCRIPTION

          Tools/Materials:
          - fluid dark medium, fine, pointed brush

          Type/Ductus:
          - delicate, fine lines occasionally visible

          Function:
          - binding for the final painted version where visible; lines delineate contours and indicate the main features within the forms; no representation of volume

          Deviations:
          - minor alterations were made during the painting process to clearly define forms

          INTERPRETATION

          Attribution:
          - Lucas Cranach the Younger

          Comments:
          - probably with reference to a preparatory drawing or pre-existing design

          [Smith, Sandner, Heydenreich, cda 2012]
          • photographed by: Gunnar Heydenreich
          • photographed by: Ingo Sandner
          • Date: 1987
          • Technical examination / Scientific analysis
          • X-radiography
          • Lucas Cranach the Elder - Museum der bildenden Künste, Leipzig - Christ and the Good Samaritan - X-Radiographs
            • created by: Museum der bildenden Künste, Leipzig
            Condition Reports:
            • Date: 11.06.2014
            • Support: - slight convex warp; thinned, smoothened and cradled. Cross-members (oak, 1 cm thick) blocked. Numerous splits in the vertically attached battens of the cradle (coniferous wood). The original joins between the planks are stable and closed, which suggests that they were reinforced with an application of tow beneath the ground. - in part open worm channels on the reverse of the panel. More woodworm damage in the top and lower quarters of the panel. In the area of the third plank at the top: two large wooden inserts, see UV photograph Paint Layers/Ground: - standard ageing cracks, stable and in good condition. Some glazes have been abraded, particlarly the green glazes; some extensive retouching see UV image; all retouches have discoloured - in the area of the donor figure at the bottom the paint layers have sunk into the worm channels Varnish: - no original varnish, homogenous, even gloss; remnants of an older varnish in the recesses and along the edges
            • examined by: Rüdiger Beck
            History of Restoration:
            • Date: 1925
            • Archivakte IV Restaurierung 1924-1932 6.-29. Treatment report by Walter Kühn, Leipzig [August 1925]. (404) "Christus und die Samariterin" by Cranach the Elder [Inv.-Nr. 41] cleaned, rubbed down with terpentine oil, regenerated [in red ink:] '[...] there is a large reconstruction in the sky, it has discoloured and is visually quite disturbing - the wooden panel exhibits extensive woodworm damage; the split was misaligned when it was reglued.' 37. Invoice Invoice from Walter Kühn for the conservation treatment carried out in the Städtisches Museum, Leipzig 26.12.1926. "Christ and the Good Samaritan" by Cranach the Elder [Inv.-Nr. 41] 70,- Cost of cradle: 94,- [Museum der bildenden Künste, 11.06.2014]
            • conservation treatment by: Walter Kühn
            • Date: 1895
            • Archivakte III - 1890-1923 (49) Note referring to a restoration carried out by Philipp Ritter in1895, without a precise date. 1895 Herr Ritter: Nr. 41 Cranach [Inv.-Nr. 41], begun and completed [Museum der bildenden Künste, 11.06.2014]
            • conservation treatment by: Philipp Ritter