CDA ID / Inventory Number | DE_SPSG_GKI30187 |
Persistent Link | http://lucascranach.org/DE_SPSG_GKI30187 |
FR (1978) No. | FR240Q |
Lucretia | [Friedländer, Rosenberg 1979, 118, No. 240Q] |
Lukretia | [Exhib. Cat. Berlin 2009, 198, No. III.17] |
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Lucas Cranach the Elder | [Exhib. Cat. Berlin 2009, 198, No. III.17] [Exhib. Cat. Hamburg 2003, 182, No. 82] [Friedländer, Rosenberg 1979, 118, Nr. 240Q] |
1529 | [Exhib. Cat. Berlin 2009, 198, No. III.17] [Exhib. Cat. Hamburg 2003, 182, No. 82] |
1526-1537 | [Friedländer, Rosenberg 1979, 118, Nr. 240Q] |
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Owner | Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg |
Repository | Grunewald hunting lodge |
Location | Grunewald |
Reference on Page | Catalogue Number | Figure/Plate | |
Exhib. Cat. Berlin 2009 A | 198-199 | No. III.17 | Fig. III.17 |
Most, Wolf et al. 2009 | 91, 92, 94 | Figs. 7, 9 | |
Exhib. Cat. Hamburg 2003 | 81, 182 | 82 | Pl. 82 |
Follak 2002 | |||
Bierende 2002 | |||
Friedländer, Rosenberg 1979 | 118 | No. 240Q | |
Friedländer, Rosenberg 1932 | 66 | 198f | |
Escape from the contrast between the sensual-seductive presence of the nude figure and the moment directly before the morally motivated suicide is offered by the view out of the window, where a small town with a church spire is visible in the background. Through this visual link between Lucretia and the church spire the exemplum of fidelity from antiquity can be interpreted as a reference to the sixth commandment (…). [E. A. Werner, Exhib. Cat. Berlin 2009, 198f., No. III.17] However, as there are no church spires depicted in other landscape scenes (except FR237) this theory cannot be transferred. [Herrschaft, CDA 2010] The theory presented in the Hamburg exhibition catalogue from 2003 is more convincing, interpreting the window as a sign that Lucretia has turned her back on the world. [W. Schade, O. Westheimer, S. Schuck, Exhib. Cat. Hamburg 2003, 182, Cat.-No. 82] |
The painting in Houston (FR 237) from the same period exhibits a similar pose. However here Lucretia wears a precious robe and her face expresses more suffering. [E. A. Werner, Exhib. Cat. Berlin 2009, 198f., No. III.17] |