Cranach - The Judgment of Paris (Elector Joachim II's exemplum panels)
The Judgment of Paris (Elector Joachim II's exemplum panels)
Lucas Cranach the Elder (workshop)
Jagdschloss Grunewald (Grunewald hunting lodge)
12.12.2018 - 01:50
Choose objects with for comparison
Painting:
CDA ID / Inventory NumberDE_SPSG_GKI1185
Persistent Linkhttp://lucascranach.org/DE_SPSG_GKI1185
FR (1978) No.FR409B
Title:
The Judgment of Paris (Elector Joachim II's exemplum panels)[CDA 2012]
Attribution:
Lucas Cranach the Elder (workshop)[Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011] Lucas Cranach the Younger and Workshop (Lucas Cranach the Younger?) [Sandner et al. 2015, 132]
Lucas Cranach the Younger 'seems more like Lucas Cranach the Younger' [Friedländer, Rosenberg 1979, 153, No. 409B] Lucas Cranach the Younger and Workshop (Lucas Cranach the Younger?) [Sandner et al. 2015, 132]
Hide content...
Dating:
about 1540 - 1545[Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]
after 1537[Friedländer, Rosenberg 1979, 153, No. 409B]
Hide content...
Owner / Repository / Location:
OwnerStiftung Preussische Schlösser und Gärten Berlin-Brandenburg
RepositoryJagdschloss Grunewald (Grunewald hunting lodge)
LocationGrunewald
Dimensions:
Dimensions of support: 209.5 x 107.2 cm [Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]
Support:
Painting on Lime wood (Tilia sp.) [Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]
Signature / Date:
none
Description:
The classical mythological story about Paris, the son of a Trojan king, ends with a tragic error of judgement. He must choose the most beautiful of the three goddesses Hera, Athena or Aphrodite. Each goddess promises him something: Hera offers him power, Athena offers him wisdom and Aphrodite promises him the love of the most beautiful woman in the world. Paris chooses Aphrodite. Helena the most beautiful mortal is married to the Spartan King Menelaos. Her abduction leads to the Trojan war and the downfall of Troy. Compared with other depictions of the subject, not only by Cranach, but also by other artists the painting in Berlin is characterized by the fact that the goddesses are indistinguishable. All three wear nothing more than a thin veil, which doesn't conceal their body and numerous necklaces. Two of them look towards Paris, whereas the third one, who touches his armor, looks out at the viewer. Behind the goddesses the messenger Hermes has raised his staff with which he beats Paris on the chest, warning him of female seduction with a loud cry and admonishing him to make a prudent decision. The scene takes place against a backdrop of thick undergrowth where Paris's white horse stands and beyond which a landscape unfolds. A cherub hovers in the sky above with his bow drawn. [see Elke A. Werner, Exhib. Cat. Berlin 2009, 202, No. III.21
Provenance:
- since 1793 in the Berlin palace
[Exhib. Cat. Berlin 2009, 200-201, Nos. III.20-23]
- East-Berlin, Bodemuseum
[Friedländer, Rosenberg 1979, 153, No. 409B]
Exhibitions:
Berlin 2009/10, No. III.21
Sources / Publications:
Reference on PageCatalogue NumberFigure/Plate
Wohlberedt 2015194, 203
Most, Wolf et al. 200988-89
Exhib. Cat. Berlin 2009 A202No. III.21Fig. III.21
Erichsen 1997
Michaelis 198928
Moos 1988
Friedländer, Rosenberg 1979153No. 409B
Exhib. Cat. Basel 1974613-621
Schade 1974439No. 324
Friedländer, Rosenberg 1932329b
Friedländer 1906/190767-70
Rumpf 1794131
Interpretation / History / Discussion:
‘The four large exemplum panels, which belonged to Elector Joachim II depict stories from classical antiquity and the old testament, that were popular during the renaissance as exempla of virtue. They were distributed in books for the education of princes (>>Fürstenspiegel<<) as well as being used to decorate representative rooms in castles and town halls. Associated with the depiction of these narratives was the idea that the virtues and vices of illustrious figures could provide standards and role models for political action. The exempla of virtue could on the one hand have a moralizing-didactic character by illustrating correct behavior to the princes or councillors; they could also serve the legitimization of political power and interests by justifying the ruler’s virtuous behavior. The panels in Berlin illustrate the monarchical virtues of moderation, wisdom, justice and courage. […]
It may be assumed, that the complex content and composition of the four paintings were based on a design by the father. These were then executed rapidly – probably under the supervision of Lucas Cranach the Younger - by workshop members. This would explain slight inconsistencies in the proportions and other formal details. Friedländer, Rosenberg and Schade on the other hand suggest that the painting is an autographed work by the son.‘
[Elke A. Werner, Exhib. Cat. Berlin 2009, 200-201, No. III.20-23]
‚About 1500 ‚The Judgement of Paris‘ became a popular theme among German humanists, because a decision for power, wisdom or love was understood as a choice of the correct future path of life. Accordingly the ruler should not follow the bad example of Paris, but should instead choose wisdom.’
[Elke A. Werner, Exhib. Cat. Berlin 2009, 202, No. III.21]
Material / Technique:
  • Date: 01.01.2010
  • Technical examination / Scientific analysis
  • Infrared reflectography
  • Lucas Cranach the Elder (workshop) - Jagdschloss Grunewald (Grunewald hunting lodge) - The Judgment of Paris (Elector Joachim II's exemplum panels) - Infrared Images
  • Underdrawing
  • - an underdrawing is not readily visible; probably executed with a dry drawing material (chalk), which was smudged slightly; revisions may then have been carried out employing a fluid medium and a brush?

    Attribution:
    - Lucas Cranach the Younger?
    [Smith, Sandner, Heydenreich, cda 2012]
    • photographed by: Gunnar Heydenreich
    • photographed by: Ingo Sandner