Cranach - Adam
Adam
Lucas Cranach the Elder
Jagdschloss Grunewald (Grunewald hunting lodge)
22.11.2018 - 12:07
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Painting:
CDA ID / Inventory NumberDE_SPSG_GKI1195
Persistent Linkhttp://lucascranach.org/DE_SPSG_GKI1195
FR (1978) No.FR198
Title:
Adam[Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]
Attribution:
Lucas Cranach the Elder [Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]
Dating:
about 1537[Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]
Owner / Repository / Location:
OwnerStiftung Preussische Schlösser und Gärten Berlin-Brandenburg
RepositoryJagdschloss Grunewald (Grunewald hunting lodge)
LocationGrunewald
Dimensions:
Dimensions of support: 175 x 67.4 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] [Exhib. Cat. Berlin 2009, 199-200, No. III.18]
Signature / Date:
none
Description:
The painting depicts Adam as a life-size nude. His he is turned to the right and he looks in this direction. In his right lowered hand he holds an apple on a branch with leaves, and his left hand is raised to his chest. Adam stands on stony ground against dark green undergrowth, this is in contrast to the flesh paint. Part of a tree is visible along the right edge of the painting and is continued on the pendant painting - Eve.
Provenance:
- since 1793 recorded in the Berliner Schloss (Berlin Palace)
[Exhib. Cat. Berlin 2009, 199-200, No. III.19]
Exhibitions:
Berlin 2009/10, Cat.-No. III.18
Sources / Publications:
Reference on PageCatalogue NumberFigure/Plate
Exhib. Cat. Berlin 2009 A199-200No. III.18
Most, Wolf et al. 200988,90
Schoen 2001117-125
Friedländer, Rosenberg 1979109No. 198Fig. 198
Börsch-Supan 196445-46No. 47
Friedländer, Rosenberg 1932166
Rumpf 1794138
Interpretation / History / Discussion:
‚The first human couple was depicted here by Cranach as two life-size nude figures on separate panels. The tree, which is split down the centre, indicates that they belong together and were originally displayed next to each other. […]
Inspired by Dürer’s famous engraving (1504) and his paintings (1507) Cranach and his workshop have depicted Adam and Eve in more than 50 versions, either on two separate panels or together on one, in different sizes and poses as well as against different backgrounds. The function of these paintings has not yet been completely clarified and probably varied. They may have been used as wing panels, but are also associated with the ‚Weiberliste‘ and warn against female seduction and a disregard of God’s commandments. As the paintings in Berlin were executed in 1537 together with the Passion cycle they may also like it have been intended for the collegial church (Stiftskirche); however as yet no evidence confirming their use as wing panels could be found. Therefore it is conceivable that they were displayed as an ‘Exempla of Virtue’ in a corresponding decorative scheme in a room of the Berlin palace.’
[Elke A. Werner, Exhib. Cat. Berlin 2009, 199-200, No. III.19]