Cranach - Margrave Georg Friedrich of Brandenburg-Ansbach-Bayreuth
Margrave Georg Friedrich of Brandenburg-Ansbach-Bayreuth
Lucas Cranach the Younger
Jagdschloss Grunewald (Grunewald hunting lodge)
12.12.2018 - 02:47
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Painting:
CDA ID / Inventory NumberDE_SPSG_GKI1121
Persistent Linkhttp://lucascranach.org/DE_SPSG_GKI1121
FR (1978) No.FR-none
Title:
Margrave Georg Friedrich of Brandenburg-Ansbach-Bayreuth[Exhib. Cat. Berlin 2009, 180-181, II.4]
Attribution:
Lucas Cranach the Younger [Exhib. Cat. Berlin 2009, 180-181, II.4]
Dating:
about 1564[Exhib. Cat. Berlin 2009, 180-181, II.4]
Owner / Repository / Location:
OwnerStiftung Preussische Schlösser und Gärten Berlin-Brandenburg
RepositoryJagdschloss Grunewald (Grunewald hunting lodge)
LocationGrunewald
Dimensions:
Dimensions of support: 99.4 x 73.5 cm [Exhib. Cat. Berlin 2009, 180-181, II.4]
Support:
Painting on Lime wood (Tilia sp.) [Exhib. Cat. Berlin 2009, 180-181, II.4]
Signature / Date:
None (see Interpretation / Discussion)
Description:
The painting depicts Margrave Georg Friedrich as an almost frontal, half-length figure against a light background. He looks at the viewer. He presents himself in contemporary Spanish fashion wearing a short coat with a stiff collar and a tall black hat. A long linked chain is looped numerous times around his neck and he wears a baldric. [see Elke A. Werner, Exhib. Cat. Berlin 2009, 180-181, II.4]
Provenance:
- probably commissioned by Margrave Georg Friedrich of Brandenburg, the son of Georg, for an ancestral portrait gallery in Plassenburg
- the portrait came 1811 from Ansbach castle to Berlin
[Exhib. Cat. Berlin 2009, 180-181, II.4]
Exhibitions:
Berlin 2009/10, Cat.-No. II.4
Sources / Publications:
Reference on PageCatalogue NumberFigure/Plate
Exhib. Cat. Berlin 2009 A180-181No. II.4Fig. II.4
Most, Wolf et al. 200988, 90Fig. 1
Schuhmann 1980101-119
Eckardt 197527
Schade 1974102
Börsch-Supan 196453
Interpretation / History / Discussion:
‚There was a Cranach insignia and the date 1564 on an area of early overpaint in the background, which was removed during restoration after 1930. It may be assumed that the designation was transcribed on the overpaint in accordance with the original signature and that both the authorship and the date are correct. […]
The composition is typical of late portraits of rulers by Lucas Cranach the Younger. Evident is the broad triangle, which evolved out of a critical analysis of Titian’s portraits and conveys peace and stability, and the simplicity of the costume, which befits the attire of the protestant sovereign.’
[Elke A. Werner, Exhib. Cat. Berlin 2009, 180-181, II.4]