Cranach - Christ crowned with Thorns
Christ crowned with Thorns
Lucas Cranach the Elder
Jagdschloss Grunewald (Grunewald hunting lodge)
22.11.2018 - 12:29
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Painting:
CDA ID / Inventory NumberDE_SPSG_GKI1194
Persistent Linkhttp://lucascranach.org/DE_SPSG_GKI1194
FR (1978) No.FR372
Title:
Christ crowned with Thorns[Friedländer, Rosenberg 1979, No. 372]
Attribution:
Lucas Cranach the Elder [Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]
Dating:
1537[dated]
Owner / Repository / Location:
OwnerStiftung Preussische Schlösser und Gärten Berlin-Brandenburg
RepositoryJagdschloss Grunewald (Grunewald hunting lodge)
LocationGrunewald
Dimensions:
Dimensions of support: 152.6 x 113.5 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:
Artist's insignia in the middle of the lower edge: winged serpent (with dropped wings) and date '1537'
Description:
The depiction of the crowning of thorns is characterized by the antagonism between the suffering Christ, who is presented looking at the viewer, in an almost statuesque stillness and the dramatic movement and gestures of the henchmen. A man dressed in a long fur-lined velvet robe mocks Christ with grimaces. Pilate stands in the company of soldiers on a gallery, which divides the composition into two levels. [see Elke A. Werner, Exhib. Cat. Berlin 2009, 215-216, No. IV.17]
Provenance:
- from the old Domkirche (Cathedral) Berlin
[Friedländer, Rosenberg 1979, 145, No. 373]

- probably taken from the Domkirche (Cathedral) in the 17th century and placed in the Erasmuskapelle (Erasmus Chapel) of the Berliner Schloss (Berlin Palace); eight Passion paintings are listed in the Berlier Schloss inventory from 1700
[Exhib. Cat. Berlin 2009, 213, Nos. IV.14-22]
Exhibitions:
Berlin 2009/10, No. IV.17
Sources / Publications:
Reference on PageCatalogue NumberFigure/Plate
Exhib. Cat. Berlin 2009 A215-216No. IV.17Fig. IV.17
Most, Wolf et al. 200988, 93
Tacke 2007 C81, 82, 84
Erichsen 1994 A157, 158
Friedländer, Rosenberg 1979144No. 372Fig. 372
Friedländer, Rosenberg 1932297
Interpretation / History / Discussion:
‚The painting is one of nine Passion panels, that were originally parts of an unknown number of winged altarpieces. Commissioned by Joachim II Lucas Cranach the Elder and his workshop created them for the collegial church in Berlin (Berliner Stiftskirche) between 1537 and 1538. This is one of the central panels, which was probably flanked by full-length depictions of saints on the wings and complemented by scenes from the old testament on the predella. […] The Berlin Passion cycle was based on the 16 Passion altarpieces, which were commissioned by Cardinal Albrecht from Lucas Cranach the Elder and his workshop for the collegial church in Halle (Hallenser Stiftskirche) (about 1520-1525) and it was the second large painted Passion series created in the Cranach workshop. Not only are numerous central panels now missing from the Berlin Passion altarpieces, like for example ‚The Arrest of Christ‘ or ‚The Crucifixion‘, but in addition the whereabouts of all the wing panels and a large number of the predella panels is unknown. They were probably lost in 1613 when Elector Johann Sigismund converted to Calvinism. […]‘
[Elke A. Werner, Exhib. Cat. Berlin 2009, 213, No. IV.14-22]
‚The appearance of Pilate and the accompanying soldiers on the gallery is an unusual feature in comparison with earlier depictions by Cranach.‘
[Elke A. Werner, Exhib. Cat. Berlin 2009, 215-216, No. IV.17]
Material / Technique:
  • Date: 01.01.2010
  • Technical examination / Scientific analysis
  • Infrared reflectography
  • Lucas Cranach the Elder - Jagdschloss Grunewald (Grunewald hunting lodge) - Christ crowned with Thorns - Infrared Images
  • Underdrawing
  • DESCRIPTION

    Tools/Materials:
    - fluid, black medium and brushes of varying widths

    Type/Ductus:
    - detailed and freehand underdrawing
    - thin lines; predominantly short lines in combination with longer, at times broader lines; in two of the heads the medium seems to have beaded-off slightly

    Function:
    - binding for the final painted version; lines delineate contours and describe the essential details and the facial features; no representation of volume

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

    INTERPRETATION
    Attribution:
    - Lucas Cranach the Elder

    [Smith, Sandner, Heydenreich, cda 2012]
    • photographed by: Gunnar Heydenreich
    • photographed by: Ingo Sandner